Susurrus Station return with their new single ‘Meshes of the Afterlife,’ a textured, off-kilter preview of their sixth album ‘Mythomania’.

Built from clatter, chiming guitars, and tightly wound programmed drums, the track leans into a handmade feel, where small details carry as much weight as the melody.

When asked about the song, Jason Breeden replied: “The song itself kind of just came together from us banging on things. Lyrically, I suppose ‘Meshes’ could be thought of as a panoply of snapshots that illustrate different historical tropes and paradoxes in our perspectives.

I initially conceived of the video as a sort of sequel to “Meshes of the Afternoon,” which of course the title is a riff on. We borrowed a couple of elements from the film, but really that is pretty much as far as the similarity went onscreen. Our reaper is still collecting liens on souls…or existing on the divide, creating new memories! But the characters are nonetheless learning to navigate their new forms and environs. I originally wanted to shoot it in a desolate clearcut, but I think it ended up being better not portraying their reincarnation as a bleak purgatory, but something they contrive to realize as more joyous. The experience really hit home for us while performing it last summer when we had been evacuated because of wildfire, a crazy period that brought everyone that helped on the project closer together and served as a reminder to appreciate things while you can.”

Across ‘Mythomania,’ the duo threads together classical motifs, rugged percussion, and flashes of cinematic guitar, moving more like a collage than a set of fixed songs. Jason Breeden and Sara Dyberg split writing and production, with Breeden’s lyrics landing more directly while Dyberg’s arrangements bring a surprising lift.

Out via AIO Soundings, the album sits somewhere between experimental pop and art rock, nodding loosely toward The Notwist and Six Organs of Admittance without settling in. It’s a record that favors feel over clean narrative, revealing itself in fragments rather than a straight line.

Headline photo: Daniell Lefebvre

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