On her first full-length studio affair since 2009’s On Better Paths, Patterson still finds ways to advance her craft. Perhaps the biggest difference is her predilection for the electric bouzouki (versus acoustic), which allows her to push into more electric-centric, effect-filled and dense arrangements. While certain trad and contemporary Celtic-rooted elements like the intensifying duet with guitar shaman Jimmy Robinson (“Join My Misborn”) are signature Patterson, at the same time her music is more world oriented than ever. “Snow and Ice” thrusts to a skankin’ ska beat; “Wishbone” is supported by a sturdy foundation of reggae dancehall rhythms.
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Every track stands apart from its brethren “Black Swan Rising” is a blasting prog rocker with shades of Rush and Led Zeppelin’s “Kashmir,” while “Fool’s Lullaby” is a gorgeous, tuneful lament. “The Ballad of Ignatius Reilly,” a salute to the cult classic Confederacy of Dunces, is a twisted cross between a resounding church choir and a bodacious Middle Ages drinking song bouncing off a second line rhythm. In between verses, Patterson’s choir chants hysterical Ignatius-rhyming words (“loquacious,” “rapacious,” “pugnacious,” even “good gracious”) that either precede or follow a euphoric Phish-like jam.

The album title (Hippocampus) refers to the seahorse-shaped brain organ that connects short-term and long-term memory locations. It’s an important concept, since sonically it can be extended to how her soul-transporting music shifts between moods and emotions, deep concepts and clever ideas—the netherworld of “Rapid Heart Movement” and the blissful “Click” are juxtaposing examples. And rightfully so, on “Phree Bürd,” Patterson lashes out at those over-served, classless drunks who bellow out for the Lynyrd Skynyrd long player for a laugh. They should know that when it comes to Patterson’s mind-engaging music, it’s beyond them.