Share on Facebook Share on Twitter Share on Google+ Share on Reddit Share on Pinterest Share on Linkedin Share on Tumblr Over two decades ago, The Onion reported we were running out of nostalgia reserves. Our precious retro deposits were being over-mined, with Jane’s Addiction reunion tours taking place before the band had even been around for 15 years. “We are talking about a potentially devastating crisis situation in which our society will express nostalgia for events which have yet to occur,” went the article. Our modern, slavish devotion to ‘80s synth-pop certainly fits the rose-glasses bill, but these satiric predictions are becoming scarily accurate, at least if Yuno’s Moodie is any indication. We’re halfway through 2018, and, apparently, early 2010s Chillwave is the sound du jour for nostalgia. Moodie sounds like the jangly pop-rap of DRAM rubbing up against the hazy hooks of Washed Out. And it works at times: the feathery vocal coo of “Fall In Love” is a delight, and the bubbly keyboard of “Amber” is a summer melody that Lil Yachty or Kyle would happily hop on. Ditto the faded piano-guitar combo on “So Slow,” until it repeats for the 50th time, unpleasantly searing itself in the reptile portion of the brain. For something this small and low-stakes, Moodie runs out of ideas quickly. The fuzzy, partially sung vocal lines sounded played out by Washed Out’s second album, and here they grate on the ears. And for half of the album’s six songs, Yuno pulls out those tired tropes. Though it wasn’t Neon Indian’s fault, that short-lived wave of music had great reverberations through the commercial world. The hip-hop leaning drums, shiny keys and gang vocals seem to be the millennial advertising’s calling card, right after plinky ukulele and xylophones. But Moodie runs right into those themes, making a product so shimmering and overproduced, it’s completely sterile. Outside of the genuinely tender “Fall In Love,” Yuno’s vocals and lyrics are fluffed up with reverb and effects until they can’t hold weight. And just like the commercials his music reflects, Moodie is here and gone without any impact. It’s pleasant enough when it’s not frightfully annoying through redundancy, but nothing sticks. Not one beat, hook or chorus lasts. Yuno’s taken the hazy vibe of his idols to the extreme, crafting something so in the mist that it can’t be substantial. It’s the music nutritional equivalent of a single puffed Cheeto. A bit tasty, but mostly unsatisfying, overproduced and probably not great for you.