Rank: 3/5
Singer-songwriter Ray Lamontagne’s sixth studio album, “Ouroboros,” proves to be his most conceptual, atmospheric and overall challenging project to date.
Lamontagne, whose 2014 album “Supernova” was produced by The Black Keys’ Dan Auerbach, had Jim James of My Morning Jacket step in to co-produce “Ouroboros.”
The album’s title itself refers to the ancient myth of a serpent or dragon eating its own tail, a concept that Lamontagne touches on a handful of times throughout the record.
It’s very reminiscent of ‘60s era classic and psychedelic rock, with moments that range from spacey, atmospheric melodies to electrifying, aggressive guitar riffs.
The eight tracks are split evenly into “Part One” and “Part Two,” an homage to the vinyl records of days past.
The opening track, “Part One – Homecoming,” is a bit difficult to get through. Not much happens in its dreamy nine minute runtime, potentially causing some listeners to be turned off by the album right from the start.
The next track, “Part One – Hey, No Pressure,” is the album’s rightful lead single. It’s groovy, aggressive and atmospheric all at the same time. Anyone who felt they missed something in the opening track is sure to be pleasantly surprised here.
Unfortunately, captivating moments like this are few and far between on “Ouroboros,” with “Part One – The Changing Man” standing out as the only other track truly worthy of recognition.
Lamontagne, who rose to fame with folk rock hits like “Jolene” and “Trouble,” seems to have abandoned the singer-songwriter style he’s become known for.
His songwriting, however, is as enthralling as ever. While “Ouroboros” certainly isn’t my favorite Lamontagne album, his talents as a songwriter and musician are undeniable.
“You’re never gonna hear this song on the radio,” he sings on the album’s closing track. With this record, Lamontagne attempts to create a testament to the fading art of concept albums.
The rest of the record follows the dreamy, atmospheric example set by “Part One – Homecoming.” While no moments on the album struck me as downright unlistenable, it feels like “Ouroboros” might be too inaccessible for its own good.