“I don’t want to be swallowed up by the Internet”
 
If one line could sum up D’Eon’s latest album, LP, this phrase from “Century By Century” would be it. The epic, keyboard-heavy record shows D’Eon very worried that everything will in fact be engulfed by the Internet. What he is primarily focused on is the role of religion and the idea of judgement. How will all that change as we become immersed in technology?
 
LP could use some serious editing. Coming in at 73 minutes long, it is even on the long side of excessive. There are some tracks (“Transparency Pt. II” and “Transparency Pt. IV”) that could easily be removed without any serious loss of album quality. With such a lofty concept, and such a lengthy record, D’Eon comes off as a bit overambitious. But while LP stumbles in a few places, and maybe takes a wrong turn every now and then, it still ends up at the appropriate destination.
 
D’Eon’s concept, the changing role of religion and judgment as we are increasingly defined by our Facebook profiles and iPhones, is strong and interesting enough to make most of the album relevant. But the lyrics at times verge on silly. On the terribly named track “My iPhone Tracks My Every Move,” he even asks if Siri can get him in contact with the angel Gabriel. Some will see that as forward-looking, but it doesn’t come across as anything but a guy on drugs staring at his phone. “Chastisement” gives off a similar vibe, asking questions that seem almost forced into lyrics.
 
The songs on the album get progressively darker. The early track “Now You Do” has a very wide-open feel, full of possibility. But by the time the record gets to track 12, “Chastisement,” the future has been predicted, and it is not a positive outlook. D’Eon’s vocals, which are more forceful on this record than any of his previous material, are generally still airy and Auto-Tuned. Yet there are moments when they really jump to the forefront and grab you, as they do on “Now You Do,” a definite highlight on the album.
 
When the synths clear out at the beginning of “I Don’t Want To Know,” it is finally obvious how cluttered the sounds had been in the previous track. But D’Eon builds up the keyboard tracks gracefully enough that it seems logical. He is clearly a very talented keyboardist and shows off this skill with quick arpeggios and lively, jumpy melodies. Toward the end of the record, D’Eon combines medieval bell-like sounds with lush futuristic synths. Whether this is done on purpose, as a subtle reminder of his concept, or just by chance, it makes for a very captivating sound.
 
Fittingly, the album ends with the unmistakable sound of a cell phone interrupting the music, technology literally getting in the way.