Tilian Pearson is best known as one half of the duo of vocalists behind acclaimed post-hardcore powerhouse, Dance Gavin Dance. However, Tilian also has now developed an extensive solo discography. Following up 2018’s The Skeptic, the newest entry has just released, and it is called Factory Reset.
The album opens on a high note with one of the better tracks in “High Water.” The song is filled to the brim with lyrical content, and the instrumental accompaniment travels between currents of smooth guitar licks, bass driven rhythmic sections, and soaring chords – it really is the complete package and shows that the album will have more of a rock influence than Tilian’s past solo endeavors. As I said, it is dense lyrically, and even though it is the longest song on the album with a runtime clocking in over four and half minutes, the chorus only shows up twice, and the verses are riddled with substance and unique melodies. Despite this, the thematic tone is of just one note, that is of fatalism. It seems Tilian wants to make the most of what life has given. The outro of the song accents that theme by utilizing repetition with the phrase “will you remember me?”
“Dose” is a song that fans heard back in December. Truthfully, it has not grown on me despite my extensive time with it. It doesn’t necessarily offend, but the chords present during the admittedly catchy chorus are just good enough. The verses strip the already barren instrumental to make it so there’s even less to latch onto. Producer Kris Crummett does the drumming on “Factory Reset,” and his drumming on “Dose” is cymbal focused and I think it actually stands out well in the mix to make the song sound better than it could have. Overall, it is not a bad song, but is a low point within the fairly stacked track list.
“Caught in the Carousel” was released just days before the album as a whole, and I immediately knew it’d be a favorite. Tilian’s bravado is usually on display in some form within all albums he takes part in, but this song really puts it in the forefront with how the lyrics are delivered within the refrain. Interestingly, the way in which Tilian sings this track is a juxtaposition to the lyrics themselves, which focus heavily on self-doubt and vacillation. Any song that can have a listener dancing whilst also having tears in their eyes is a banger in my book. Also, I must mention the low notes Tilian puts out on this song, which is new to fan’s ears on both his solo front as well as in Dance Gavin Dance.
“Anthem” has perhaps the best start of any song on this record. The haunting synth sample erupts into an immediate chorus that is incredibly infectious. It’s a straightforward track, but each line begs to be sung, especially: “if you’re living in the minute here’s your mother fucking anthem.” I must also shout out the lyric “becoming clear that my mind and my soul and my body are autonomously independent” because only Tilian could make that tongue twister sound as good as it does.
“Breathe” is an interesting point on the album. It almost seems fourth-wall breaking on multiple fronts. Tilian is “letting this one breathe” as in, the song, and the track also serves as a breathing point for the album as a whole. He also sings “I can’t just sing the same damn note and expect you not to leave” and during that lyric, Tilian belts an impressive vocal note. It’s almost like he’s aware that the album needed a palette cleanser. I would say that the self-doubt is misplaced, but doubt seems to be a consistent theme within the album.
In quite the change-up, “All I Crave is Peace” immediately ups the beat in almost a pop-punk sense. Whether intentional or not, it is a cool moment to see how the song starts with such intensity, and a lyrical yearning to “get the fuck out of the city” whilst keeping in mind the title of the song, and then the track divulges into more and more of a slow, melodic one as it progresses. This impressive display peaks about halfway through the song when there’s an almost prog breakdown that is one of the heavier instrumental moments on the album, while also being a serene break. Due to that, it’s a highlight on the entire record for me. I almost wish that part were even longer and more developed.
“Is Anarchy a Good Hobby?” Good question. Tilian really flexes his lyrical chops here over sweet and cheery riffs that move into a moody pre-chorus and then a near bass drop for the presentation of the chorus. The chorus then has Tilian sounding, quite frankly, the weirdest he’s ever sounded, in a good way. Each aspect of the accompanying instrumental perfectly accents the dreamlike sequence that the song is trying to be. The only downside of the track is that there is no true climax. Perhaps that was intentional, as one usually awakens from dreams abruptly.
Tilian goes trap in the title track, “Factory Reset.” A 2-minute banger, the progressive guitar leads and chorus that have inhabited the album so far are completely abandoned for an electronic bass beat. It certainly works but wouldn’t have for, say, a three-minute run time. I like the notion of a factory reset sounding different from everything else on the album, though it doesn’t exactly scream “title track” in scope.
“Imagination” (co-produced by Polyphia’s Tim Henson) is heavily driven by Tim’s contributing riff. The verses, as well as the chorus, take up a reggae tone to the point where Salsa seems like the most appropriate dance to vibe to this song. It is an interesting listen, but nowhere near as engaging as some other tracks here.
“Act Out” takes a 180 from both the previous song, as well as every other song on the album simultaneously, somehow. It begins like a disco hit straight out of the 80s which is most prevalent, as well as most effective, during the chorus. Once you’ve heard that influence, you’ve heard all the song has to offer, unfortunately. The album up to this point, had songs that all varied in sound, but still sounded like they belonged on the album together. I cannot say the same for the last two.
Just as one would think that statement, the closer, “Hands Around my Throat,” brings back the focus of the album with the reintroduction of a rock-oriented song. As most closers do, however, the core of the song is ethereal and larger than life. This is especially true during the chorus where Tilian has arguably his most impressive vocal display on the album. The verses fall flat in comparison, however, which holds this back from being a true favorite for me.
Fans of Tilian and Dance Gavin Dance alike should be impressed with Factory Reset. Those that prefer DGD can find solace in the rock and post-hardcore elements littered throughout the record. And those who love Tilian for his immaculate voice should already know that it will be on full display in anything the man delivers. This album also presents some of the most interesting songwriting that Tilian has been a part of, more so than some recent Dance Gavin Dance material, which would surprise people that have not listened to Factory Reset, I think. Given Tilian’s output, whatever comes next, fans know they won’t have to wait too long, and they should be excited given how this album turned out.
Factory Reset is out now via Rise Records/Future Friends. You can purchase/stream the album here.
7/10