ALBUM REVIEW: With ‘Empire Electric,’ No-No Boy’s Julian Saporiti Exudes Positivity

With his latest release, Empire Electric, Julian Saporiti — aka No-No Boy — hones the narrative and eulogistic approaches of his first two albums. While previous work, however, leaned toward opaque mixes that evoked a distinct melancholy, Saporiti’s newest songs are comparatively translucent, buoyant, and spacious. It’s as if the musician and Ph.D researcher is radiating a newfound compassion, celebrating that every life is an extension of the divine.

“Nashville” spotlights Saporiti as he adopts a Grand Ole Opry-tinged vocal, stepping ably into character, as Kristin Weber contributes subtle accents on violin. Lyrically, the piece pays tribute to the many dreamers who have passed through the legendary town (which is, in fact, Saporiti’s hometown): A few have found success, but the majority faced disappointment. Occasionally making leaps and pivots reminiscent of Dylan’s “Lily, Rosemary and the Jack of Hearts,” Saporiti weaves an epic tale.

“Mekong Baby” salutes young love and how romance can be ruptured by war, with lyrics detailing “fighting on the beach” and “violence in our teeth.” The piece exudes acceptance regarding the way our lives frequently go in unexpected directions. Intention is important, Saporiti suggests, but it alone doesn’t dictate the final destination. Using various instruments, among them a bright harp, as well as phase shifts and dabs of reverb, the song integrates elements of folk and dream-pop. “Jakarta” combines natural and electronic sounds, including birdsong and anthropological samples, as Saporiti sets his spoken-word narrative/travelog within a psychedelically-inflected soundscape.

On “Nothing Left But You,” Saporiti speaks poetically of surrender (“I’ve given up almost all I got”), aspiring to selflessness. “Little Monk” features a breezy melody and swirly soundscape as Saporiti again conjures the possibility of transcending ego, reminding himself (and us): “do not harden / at the cruel and constant spinning of your mind’s demands.” “Be where your feet are now,” he adds, recalling Ram Das’s famous directive.

“Sayonara” is built around notable melodic movements, a spry drumbeat, and intriguing atmospherics. Pondering whether traditions are still relevant given the fast-paced and eclectic pitch of contemporary existence, Saporiti bids farewell to sentimental leanings (“sayonara…an empire’s end”). Closer “1603” fuses field recordings, crystalline synth sounds, and engaging flourishes, Saporiti blending imaginative musings and historical research (Sebastián Vizcaíno and Martín de Aguilar’s early 17th-century trek up the California coast).

Empire Electric was produced by Saporiti and his wife/collaborator, Emilia Halvorsen Saporiti, who also performs back-up vocals on several tracks. Inspired by the couple’s time at Thích Nhất Hạnh’s Blue Cliff monastery (a month dedicated to meditation, reflection, and healing), the project emanates positivity, a sense that while we can’t control “The Great Unfolding,” we can ultimately trust it.

No-No Boy’s Empire Electric is out Sept. 29 on Smithsonian Folkways. To read more about No-No Boy, check out the Fall 2021 issue here.