Torquil Campbell is back flooding listeners with spacey soundscapes and exuberant pop beats with his side project, Memphis. Partnering with friend Chris Dumont, the hazy dream pop that made The Stars so popular is the driving force behind Here Comes a City. The album fits perfectly in Campbell’s body of work and for listeners who just can’t seem to get enough fuzzy electronic guitar riffs and airy reverberated lyrics; it will be a welcome addition to the collection.

Here Comes a City starts off rather surprisingly with a strangely beautiful instrumental track. “Here Comes a City” is meditative, as airy guitar chords breeze softly around light flute notes and a soft string section. All the while, low city noise floods the background creating a light and peaceful take on city life. It’s like Campbell and Dumont are standing on a crowded sidewalk and for one moment stopping time.

The pleasant and almost calming sensation initially created doesn’t last for long. Without missing a beat Campbell is back to his hazy vocals crooning over contemplative lyrics and foggy pop beats. The upbeat tempo jumps into action with “Apocalypse Love Song” bouncing over melancholy chords and imaginative lyrics. “Wait!” is a finger-snapping, toe-tapping energetic track driven by bitterness as Campbell sings, “You were a social climber/A good for nothing two-timer/You were the only one/Known as the only one/I don’t love you anymore.”

Listeners are given a break from what at times seem to be self-indulgent pop tracks with “Reservoir.” Clocking in at nearly eight minutes, it’s a bit lengthy but utterly enjoyable. Another soft and thought provoking instrumental piece, it’s yet another chance to stop time and contemplate. It has a haunting air and an unassuming, humble, and sweet atmosphere. Even with the sometimes undecipherable whispering it is a track that will leave listeners wishing Campbell had opted for more of this type of sincerity on the rest of the album.

All in all, Memphis does a fair job of creating an album that at the very least seems pleasant. However, with the talent that lies in this band, listeners may be left wanting more. The incessant haze and fog that clouds nearly every track makes it difficult to find individuality among them. Campbell begins to sound whiny after a while and the only moments that are truly enjoyable are on the tracks where he doesn’t sing. Here Comes a City sounds like much of what has come from this genre and this artist before. Next time a bit more innovation, creativity, and risk-taking could prove fruitful.

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