Southern California pop prodigy spreads his wings
On the cusp of adulthood (his twentieth birthday party was held October 15th at Genghis Cohen), Mason Summit’s already on his third full-length album of original music. He’s a singer, songwriter and multi-instrumentalist whose music brings to mind the craft of Brian Wilson and Chris Stamey, and the emotional delicacy of Elliot Smith. Working with engineer John McDuffie and a selection of top-flight L.A. studio players, Summit has fashioned an even more sophisticated version of his introspective sound, and his lyrics showcase the emotional and artistic discovery that marks the transition from adolescence to adulthood.
Summit wrestles with the onset of outside awareness (“What I’m trying to say / Is that I don’t know what to sayâ€) and the disturbing things it can bring to light. He struggles with relationships that are out of balance, the mystery of temptation, the banalities of daily living, and – surprisingly for a teenager – mortality. His introspection gives voice to teenage thoughts that aren’t often spoken aloud, at least not within earshot of adults. “When Time Was Mine to Spend†ruminates on the heavier burdens and narrowed freedoms of adult life, and though sung in the second person, “Suede Pockets†rings with first-person break-up details.
Without a band identity to maintain, Summit is free to give each song a unique mix of instruments, and though the mood is typically pensive, the textures are varied. The music thins to guitars for “Side Street,†turns jazzy with the muted trumpet, piano and guitar of “Detour,†and gains a Nilsson-like feel on “Snakeskin Shoes and Crocodile Tears.†Summit’s put a lot of craft into the arrangements, vocabulary, meters and rhymes, using his freedom as a developing indie artist to experiment. He’s also gained experience interning with Rob Schnapf, working shows at McCabe’s ,and attending music school, all of which should multiply the opportunities for this talented singer-songwriter. [©2016 Hyperbolium] 