Indie rock outfit Cloud Cult has just released their LP album Alchemy Creek via the band’s very own Earthology records. Alchemy Creek consists of 11 songs including the beautiful recently-released single “The Universe Woke Up As You”, which can be read about here.
I can’t cover the first song of this album without gushing about its musicality. “Got Your Backpack Open That Backdoor” opens with a beautiful violin solo; rock music elements really shine through in the latter half of the song, as an electric guitar and drums carry the melody. The vocals, provided by Cloud Cult’s showman Craig Minowa, are sandwiched in between amazing instrumentals.
“I Am A Force Field” has a refreshingly techno-like beat. Despite its sci-fi vibe, the lyrics are clearly written as letters to one’s younger self. The song plays into the childlike desire to have superpowers and be invincible. In a more mature perspective, this would be the equivalent of being emotionally resilient and putting up a figurative ‘force field’ to protect oneself from any pain. I absolutely love the reference to Winnie the Pooh in this song– he’s my favorite fictional character of all time!
“Vision In A Field” is intended for those lacking mindfulness. Some people are so overwhelmed with everything that is going on and need to dissociate to a safe space, such as an open field as the song title implies. The song encourages the idea that sometimes it’s okay to run away from it all, especially if your circumstances are deteriorating your mental health.
“One Human Being” again pays tribute to the sci-fi theme this album embodies, yet it is oddly enough the most uniform song of the whole album– with a consistent tone and chord played throughout. The violin riff adds to the lull and calmness of the melody. Lyrics-wise, this song reinforces the fact that Alchemy Creek is an ode to youth. It’s about the desire to go back in time and guide one’s younger self, as diction like “we” or “my kid” refers to one’s inner child.
The meat of this album is “Tonight I Run Away”, a nostalgic song that reminds me greatly of the children’s book “Where the Wild Things Are” by Maurice Sendak. The meaning of the song is in the title: whoever is singing this song is on the run from something. It’s amazingly carefree, in both the melody and lyrics. It is by far my song of the whole album!
“Over And Out” provides a refreshing break from the pure rock elements of this album. The acoustic guitar and harmonica duo give this song a soulful country feel. The lyrics are as if Minowa is talking to someone through a radio and can only say a few words at a time. Out of everything he could say, he chooses to let the receiver know ‘it’ll get better.’ This song does an amazing job of illustrating the emotional pain he is going through.
“Something In Me Is Changing” is where Cloud Cult’s signature rock music makes a comeback. This is a great song to listen to if you are ready for a big change. Minowa, who I am assuming is talking to his younger self once again, contemplates leaving his small hometown for opportunities that are bigger and better– a very relatable desire for young people who are fed up with what their current life has to offer.
And of course, I cannot finish this album review without discussing Cloud Cult’s music video for their melancholy single “As Beautiful As It Hurts”. Our main man Minowa is seen playing a grand piano, illuminated by the sun shining through an open door. He’s rocking back and forth, implying he is hurting and is physically trying to comfort himself. In the next scene, Minowa is outside overlooking a shallow creek; he lets his bare feet touch the clear water. My favorite verse in the song is:
Try to make the most of my life Though I make mistakes all the time Forgive my foolish pride But please know I tried I need to think it’s going to be alright I need to think it’s going to be alright
When Minowa appears back at the piano, his chordophone music is accompanied by a beautiful violin solo at the last minute of the song. Because this video can be watched on YouTube Kids, it is once again reinforced that Cloud Cult makes family-friendly content that everyone can relate to.
“Let It All Out” is highlighted by its distinct, almost ethereal music sequence. I can see the intro being played as background music to many mindful yoga sessions. The violin and accompanying percussion instruments do a wonderful job of evoking an out-of-body experience. The drum beat picks up in the middle of the song, almost as if summoning the only lyrics of the song: “Let it all out. Let it all go all out.” This song is clearly about cathartic release, which is why it is fitting that this song is the longest out of the whole album.
The last song “Different Kind Of Day” perfectly sums up the entirety of Alchemy Creek. It’s self-deprecating, and a little sad, but hopeful and encouraging by the end. As the title implies, Minowa is betting on a ‘different kind of day.’ And as the music picks up, we as listeners all hope that today will be a better day. I hope you all enjoy the album as much as I did!
Confirmed Cloud Cult US Headline Tour Dates & Festivals: August 9 @ People Festival in Yuba, WI August 28 @ The Sinclair in Boston, MA August 29 @ Le Poisson Rouge in New York, NY (Almost Sold-Out!) August 30 @ World Café Live in Philadelphia, PA August 31 @ Summer Entertainment Series in Fairfax, VA September 12 @ Neptune Theatre in Seattle, WA September 13 @ Aladdin Theater in Portland, OR September 27 @ Palace Theater in St. Paul, MN September 28 @ Palace Theater in St. Paul, MN (Sold-Out!) Alchemy Creek Tour continues in January including Nashville, Atlanta, Durham, Charleston, & more
There’s nothing like a good alternative rock release, and the self-titled debut EP from Soft No fits that bill entirely perfectly. Soft No came out only last week from the Philly-based band, made up of childhood friends Scott Signorino (guitar), Allie Lannutti (vocals, bass), Austin Lotz (guitar), Jon Martello (drums), and Kate Lowe (keyboard/synth). It features five tracks that were all produced by the band with Mark Watter, who’s done audio engineering work for both Alex G and Hop Along. Soft No has only been together for a little over a year now, with their sound still somewhat loose, with inspirations from several alt-rock subgenres and local Philly music scenes. This includes modern indie rock, 90s grunge, emo, metal, and most prominently – a lot of noisy shoegaze.
All of Soft No’s tracks are well-crafted pieces of noisy, dense, and heavy psychedelia that persistently grab your attention, even if they may lack distinction from each other. For a release that’s only five songs and 16 minutes long, this isn’t necessarily a bad thing. It functions more as a quick introduction to the band and their talents as opposed to an album that’s more chronological and focused as a full experience. Each track is wonderfully noisy and drenched in layers of instruments and textures. The opener “Keeping Tabs” earns comparison to classic noise rock acts like My Bloody Valentine, with the guitar playing and distortion being consistently impeccable throughout the album. Most of the other songs follow a similar formula with minor differences, such as touches of grunge on “Take Your Word”, metal on “Descender”, and an uptempo garage/punk sound on “Melting Timelines”. The latter tracks are easily my favorites, being just as abrasive as well as enjoyable and fun to rock out to. With a lot of shoegaze and noise rock, the vocals tend to blend into the background, but it feels more intentional here as they function more like an instrument in themselves. I also think the drumming and bass playing are key to many of these songs, as they provide a dynamic rhythm that keeps the songs from becoming too focused on atmosphere. Still, I’d like to hear more of the vocals and lyrics in later releases, even if they’re not what the band currently chooses to emphasize.
Soft No’s debut EP is instantly recommendable to fans of abrasive, heavy alt-rock and shoegaze, and really impressed me as I listened to it. The band’s tight chemistry is center-stage throughout, and I hope they keep working together when creating a more focused LP in the future.
Refreshing indie pop duo Lime Cordiale just released their full-length album Enough of The Sweet Talk on July 26th. The LP comprises 13 songs separated by four “French Cue” interludes. After listening to the whole album, I couldn’t help but compare their music to The Wiggles, an Australian-based music group known for their iconic tunes. Sure enough, after doing some research, Lime Cordiale hails from Sydney, Australia, and gives off the same vibes as the aforementioned, but with a mature coming-of-age twist.
The band is made up of brothers Louis and Oliver Leimbach, later joined by Brendan Champion on the trombone and James Jennings on the drums. The musicality of the album at its core is pop, with hints of indie rock shining through in the latter half of the album. The drums, electric guitar, and trombone make regular appearances throughout the album, with an electronic keyboard as a fun cameo added to a few of the songs.
The first part of the album feels amazingly carefree and pays tribute to romantic relationships. “Pedestal” and “The Milk Man” are perfect songs to jam out to, so much so that they paint vivid pictures many can relate to, whether it be slow-dancing at prom or having a summer fling at the beach. I can already see myself listening to these songs while I’m getting ready for a special night out!
“The Facts of Life” is where the album breaks out into more of a self-reflective realm. In my opinion, the song encourages you to pay attention to your surroundings and enjoy the smaller things life has to offer: chewing gum, ice cream, the birds and bees. Alternatively, “The Facts of Life” could also imply the feeling of sexual release, as evocative hot-and-cool imagery is used throughout the song. The next piece “Enough of The Sweet Talk” is as literal as it can get. As a listener, you can’t help but empathize with the brothers. Leimbach states that talking with this person (I assume a romantic partner) is frustrating because they truly won’t listen to him; it’s all meaningless sweet talk. Even if they share the meaning of life or the world is ending and they need someone to rely on, he still wouldn’t talk to them– opting to be alone despite such drastic conditions.
This brings me to my favorite piece of the entire album: “Happiness Season”. It’s a beautiful song wherein each lyric is punctuated by the drum’s beat and accentuated by an impressive trombone riff. Additionally, this piece really highlights the Leimbach brothers’ talents as tenor vocalists! My favorite part is the chorus:
She didn’t need me, I’ve been defeated, Oh that’s how it goes in happiness season She didn’t need me, I’ve been defeated, Oh that’s how it goes, imagine her leaving, with happiness season~
“When I’m Losing It” is where the album takes a serious turn. In this song, Leimbach is, for lack of a better term, head-over-heels crazy about his lover. He admits he gets jealous easily and always loses his nonchalance when he’s around her. Accompanying this self-deprecating streak are “Imposter Syndrome” and “The Big Reveal; Ou L’Hypocrite”. Both songs reveal feelings of bittersweet inadequacy. Leimbach doesn’t see his own appeal and cannot accept a compliment for his life. Leimbach is hiding a big secret under his stardom and it’s the fact that he’s a hypocrite living with imposter syndrome. To be honest I can see many young adults of my generation (Gen Z) relating to these songs the most. At the end of the day, whether we hold mid- to senior-level positions or amass thousands of followers, at one point in our lives we’ve all experienced imposter syndrome.
Another amazing song I would like to spotlight is “Country Club”. The lengthy trombone solo, reminiscent of New Orleans jazz, graciously allows listeners a moment to reflect on the message of the song. “Country Club” has an oddly psychedelic feel to it, with a catchy and hilarious chorus. This song narrates the life of a ‘nepo baby’ who cannot rely on their parent’s money anymore. Despite its advantages, having rich parents can actually be a disservice as the person in question doesn’t know how the real world works. Overall, it’s a great message anyone can take away from.
Ultimately, Enough of The Sweet Talk provides listeners with a wonderful range of life messages to learn from. In addition to love and heartbreak, the album touches upon the importance of self-reliance, staying humble, and the harm caused by your inner critic. These songs are going to be on repeat in my summer playlist and–dare I say– years to come!
The main appeal of the Mississippi-based indie folk band Happy Landing is their sweetness and love for one another which shows in each song. On Golden, their debut LP, the tight chemistry and connection that the band has is translated into an album that’s loveable, sweet, and sometimes willingly cheesy. The sound of the record (and the band) is one that combines the spirit of indie music with rootsy Americana sounds and is filled to the brim with expertly performed vocal harmonies. Both lead singers, Matty Hendley and Keegan Christsen respectively, blend their voices well enough, though each brings unique qualities when leading. Hendley has a raw vulnerability in his vocals that makes the lyrics seem true and sincere, whereas Christsen’s voice is more confident and boosts the harmonies. And these harmonies are the most easily identifiable part of their sound, as almost all the songs feature bold and soulful choruses where every band member joins together. It’s likely why the band is noted for their live shows, as each song easily functions as an inviting sing-along with an audience.
The first few songs of Golden work mainly in the same upbeat “stomp-and-holler” indie mold, with “Lose The Gun” being a strong opener and “The Family Band” presenting the band’s ear for melody. These tracks are easy to appreciate, with the former and “Let Me Out” being obvious choices for singles, but a lot of the best moments of the album come with more restraint. When the vocal harmonies are utilized in softer and more nuanced ways like on “My, My, My” or “Greyhounds”, it’s easier to appreciate the songwriting and vulnerability of the performers. Not to say the album’s production is at fault, as it’s one of its strongest points. Several songs balance layers of root instrumentation and vocal harmonies but never feel disorganized or incoherent. “Marriage Song” best represents this, with its vast and sweeping string section growing more powerful towards the song’s climax.
Golden is a rare album that has its sound matched perfectly by the cover. A golden crescent moon that seems to darken while set against a worn leather texture. It’s oddly similar to the sorts of images that came upon me while listening: watching a setting sunset amongst fireflies, or the coziness when curled up with a good book. This is an album that’s appealing and accessible without ever trying hard to do so, based purely on Happy Landing’s likeability.
This fall, Happy Landing will embark on “The Golden Tour”, with supporting act Arts Fishing Club.
Nashville-based singer and songwriter Meg Elsier has released her new album spittake and it is no joke! Recently making her debut in 2023, spittake is an album she describes as an ‘introduction to herself’ as an up-and-coming indie-rock artist. The album consists of 11 songs and was made in collaboration with Ryan McFadden, a fellow Nashville-based producer. A fun fact is that most of the titles are uncapitalized with no spaces to stay true to their original demo names!
Elsier’s haunting voice is a wonderful contrast to the electric guitar and drums that build up her sordid lyrics. If her sickeningly sweet melodies don’t make you feel melancholy, then her messages will. Most of her songs are a self-reflection of her poor thoughts and actions, usually with a partner in mind.
My personal favorite of the album is “forlyleinsanfransico”. In this song, Elsier rambles on about how she is the perfect fit for a guy (or girl) and vice versa. However, Elsier admits that she is only human and has flaws that may affect their potential relationship. My favorite verse is:
I’d be your good girl But I do bad things And I talk dirty But I keep the house clean And I’d be funny But you’d be funnier And I don’t mind it I like second seat
My take on the whole song is that Elsier’s self-hatred and selfishness is preventing her from committing to a healthy relationship. As a sad girl myself, her lyrics are very relatable!
A handful of her songs are accompanied by music videos, all viewable on Youtube. In her last song “LA”, she is depicted as a white angel on an empty black stage. Other angels identical to her appear and a confrontation ensues. The song is a musing of her life if she ever moved from Nashville to LA. Elsier acknowledges that she wouldn’t trust the lack of cold weather, the high living costs, or how emotionally distant the LA people are. According to her, the harshest reality to accept would be that there are many artists just like her, implying she would lose her authenticity and ultimately herself if she ever moved to LA.
spittake can be listened to on all streaming platforms. You can also follow Elsier on social media. As for the rest of the year, Elsier is touring in her hometown Nashville Tennessee, and all along the East Coast– in Ontario & Montreal as well.
Mike Campbell is a classic rock veteran who’s never really gotten his due, at least in the eyes of the public. His musical track record is all over the map, as a founding member of the legendary Tom Petty & The Heartbreakers and a collaborator of other household names like Stevie Nicks, Bob Dylan, and Don Henley. This sort of throwback retro-rock sound pervades all throughout Vagabonds, Virgins, & Misfits, the third album of Campbell and his band, The Dirty Knobs. The band, composed of former Heartbreakers/Don Henley collaborators Steve Ferrone (drums), Chris Holt (guitar), and Lance Morrison (bass), began as a side project in 2000 for Campbell but became a full-time project from the dissolution of The Heartbreakers following Petty’s death. This is their third album after 2020’s Wreckless Abandon and 2022’s External Combustion.
Vagabonds, Virgins, & Misfits is musically defined by many of the same textures that defined the Heartbreakers’ sound: blues, rootsy country, and occasionally some hard-edged rock & roll. The album’s vintage vibes never attempt to reinvent the wheel, but that’s missing the point. Mike Campbell & The Dirty Knobs’ appeal is hearing a band of energized veteran musicians play the music they love without a care in the world, and it’s why the album succeeds on its own merits. Even if part of one’s affection towards the band may come from their own nostalgia towards the Heartbreakers and classic rock in general, it’s still a well-crafted piece of retro rock with consistently killer performances.
The best songs on the album are the ones where the band is firing on all cylinders, such as the loose and fast-paced rock-n-rollers “Shake These Blues”, “So Alive”, and “Don’t Wait Up”. They each have an irresistible groove with amazing guitar playing, and the band’s chemistry and individual talents all get to appear. Many tracks also feature a sound closer to the heartland rock played in the Heartbreakers, such as “Angel of Mercy” and “Innocent Man” and succeed as feel-good breezy songs that still have grit and muscle in their tone. I was even digging some 60s-inspired country songs that intermittently appeared, such as “Hell or High Water” and “My Old Friends”. Both provide enough changes in instrumentation (through a string section, harmonica, horns, and Americana staple steel pedal guitar) to work just as well as the more conventional rock songs. While Campbell’s age can show in some of his singing, it’s always off-put by the love and enthusiasm always shown for his work. The vocals are also helped by guest stars on the album, such as contemporary country star Chris Stapleton, fellow heartbreaker Benmont Tench, and Gen-X/boomer music maestros like Graham Nash and Lucinda Williams.
Again, some of the album can depend on your own feelings for classic rock and you may be more inclined just to relisten to Full Moon Fever instead. But even as an act that prides itself on older musicians and styles, Vagabonds, Virgins, & Misfits is an effortlessly enjoyable ride that’s built on a strong love for rock music.
As someone who’s been studying up in the DMV (shout-out George Mason!), I’ve been slightly aware of MasVusi, an active drag performer in the area. She’s certainly a remarkable figure in both her performances and trans activism, and when I heard she was releasing an EP, I knew it would be something truly interesting. Despite pride month having come and gone, it’s still critical to shed light on new releases by queer artists absolutely worth your time, and MasVusi’s debut EP i hope you like it and is a shining example of such.
The EP has been in the works for two years, with MasVusi describing it as a “true story of love, loss, and a coming of age where queer young people must choose between their own safety or the presence of their loved ones.” The songs are implied to be autobiographical in some ways, which makes the release more intriguing given it’s already quite confessional and honest, even without the prior context. The music of the EP contrasts the moodiness of the lyrics by mainly being an eclectic blend of several eras of dance music (likely also chosen because the genre is a staple in queer/drag culture). Musically, I spotted influences from flashy 70s disco (“Chaser ‘69”), early 80s synthpop/Italo-disco (“(the) Night Shift”), and modern EDM (“t4t”) throughout the record. Though that’s assuming those aesthetic/stylistic references were intentional and I’m not just being a massive nerd, anyway.
Immediately, the opener and lead single “Closet Blues” caught my attention with a thumping dance beat and a squelchy, groovy bass line. It’s a fun opener, and the lyrics set up the themes of late-night romance (and eventual heartbreak) in a way that still complements the funk. My favorite song from the EP was definitely “(the) Night Shift”, which really impressed me with its production. It has these dreamy and lush 80s-inspired synths, and the whole track just sounds gorgeous. I absolutely must point out MasVusi’s vocal performance because while I think the opener’s mixing could bury her voice, she really comes alive in this song specifically. She has great vocal range, and her voice can have a glammy dramatic quality that really soars during the more emotional, longing moments of the record.
The next song and second single “Chaser ‘69” (featuring fellow DMV-drag artist Queenie Iman Glamazon) continues in this throwback direction by incorporating synthesized strings and a four-on-the-floor beat. It’s intentionally campy to achieve the vintage 70s disco flavor the song is going for, which is reminiscent of Donna Summer or ABBA, and again succeeds because of the vocals and production. After that comes the most vulnerable song on the record, “Momma, I”. Interspersed throughout the track is a recording of the inside of a DC metro station, which makes the lyrics and entire EP seem more real and personal. This is because the audio juxtaposes against MasVusi singing earnestly at her most desolate and bleak, with the music styled in a jazzy piano ballad to match the tone. The lyrics of the middle three songs are the most downbeat, focusing on yearning, financial hardships, and loneliness, respectively.
Fortunately, the EP ends on a positive note with “t4t”, a fast-paced contemporary rave song. I believe the lyrics show MasVusi found her own happiness with the local drag/club scene she’s currently involved in, a sentiment that wraps up the EP nicely. As a debut release, i hope you like it (which, yes, I did) is bold and revealing while still being quite danceable and engaging, and it shows that MasVusi is a performer with something to say.
Talking Heads is easily my favorite band. They were the first band that really got me into being a massive music geek, and I can’t imagine where I’d be today without them. So, when I heard A24 was planning a large-scale tribute album of Talking Heads’ iconic Stop Making Sense concert film with a different artist covering each song, I got excited but also quite cautious. I loved the band was getting more exposure to new audiences, but who would A24 pick to cover each song? Would they choose artists that honor Talking Heads’ material but still do their own spin on it to keep it fresh?
I’ll go out and say immediately that many of the musicians featured on the album aren’t necessarily ones that would be on my shortlist for a covers album, but that’s not at all a bad thing. Part of Talking Heads’ appeal is the way they respected and performed countless music styles—sometimes multiple at once. They created a unique sound of punk, funk, dance, and art rock and still had room for inspirations from world music or hip-hop made them so forward-thinking. Choosing artists of a variety of styles complements the multicultural palette Talking Heads had worked with.
(Okay, but if I had to choose who I’d want on the album, I’d choose LCD Soundsystem, St. Vincent, HAIM, and a more contemporary post-punk band like Squid or black midi… I can dream.)
However, there was still another big concern I had with the announcement: it was a covers album. A known, respected artist doing a cover of a song is a tricky balancing act. You must honor the source material, but not too close to where it just sounds like you’re doing karaoke. But, if you divert from the original too much and go somewhere too new, it makes your cover just seem like a pointless exercise and you won’t make fans of the original happy. It’s difficult, but it’s totally possible to accomplish this mix.
With that said, the easy standouts of the album were the ones that got this balancing act down the best. Paramore’s cover of “Burning Down the House” kills with Hayley Williams’ stage presence and irresistible vocal performance, and “Crosseyed and Painless” done by Chicano Batman and Money Mark captures the original’s relentless, nonstop energy. It’s hard to recapture the feeling of such a soulful, heartwarming song, but the version of “This Must Be the Place (Naïve Melody)” by BADBADNOTGOOD and Norah Jones gets damn close. I’m a fan of the former’s lush 70s soul inspirations and using that with Jones’ comforting presence just makes their cover feel like a warm hug in all the same ways the original did. And, if Talking Heads’ cover of “Take Me to the River” equally combined them with Al Green, then Lorde’s cover of the same song is a satisfying blend of both her sound and Talking Heads’.
Some of the other covers closer to the originals can depend on your tastes. I liked The National’s version of “Heaven” which works well with their atmospheric indie folk sound, and quite like some of Aaron Dessner’s produced work for that one super famous rich white and blonde woman who I won’t name*. (*Forgive me, Meredith.) The Linda Lindas and girl in red do acceptable versions of “Found a Job” and “Girlfriend is Better” respectively without changing much, and I enjoyed seeing an African group represented on the album through highlife band The Cavemen’s version of “What a Day That Was”.
The problem with many other covers is that they’re too different from the originals, and it makes them difficult to judge. I love “Psycho Killer” and I’m fine with Miley Cyrus covering it, but why do it as a Lady Gaga-style EDM song? “Thank You for Sending Me an Angel” isn’t one of my favorite Talking Heads songs, yet it’s hard to get behind Blondshell doing a slow burn grunge version of it (albeit with a pretty rad guitar solo at the end). Then there’s some of the out-there covers like DJ Tunez performing “Life During Wartime” as an afrobeats-inspired trap song or Kevin Abstract going as far away from “Once in a Lifetime” as possible.
None of these songs are necessarily bad in terms of their sound or how they changed the originals, but they’re hard to appreciate in contrast to the other songs that try hard to honor the spirit of the originals. It’s not to say some covers work despite being too close to the originals (i.e. Teezo Touchdown’s “Making Flippy Floppy” or Toro y Moi’s “Genius of Love”), but perhaps the album could have functioned better with more direction as opposed to letting the artists run completely free.
Everyone’s Getting Involved isn’t bad, despite what some more closed-minded Talking Heads fans may say. However, it’s difficult to appreciate based on how different each artist approaches the original material. It has enough good covers to make the experience worthwhile, even if it may also leave you scratching your head at points. Still, nothing here stains Talking Heads’ enduring legacy as one of the best bands of its time.
Brooklyn’s own indie rock band Razor Braids just released Big Wave, their sophomore LP after 2021’s “I Could Cry If You Want Me To”. The new album is of a concept record about the timeline of going through a breakup, and lyrically it’s very personal. It goes into the narrator’s (which could be any of the members of the band, or multiple writing from shared experiences) feelings about their insecurities, self-doubts, and feelings of anguish within themselves. The lyrics are one of the strong points of the band, being clear, relatable, and easy to identify with as a listener.
Musically, the band’s style has its inspirations in 90s indie and alternative rock. There are many obvious comparisons like the lo-fi sound of Liz Phair, some Mazzy Star-style touches of psychedelia, as well as heavy grungy guitars that occasionally pop up. The production and guitar work on the album is consistently good, with a hazy but dreamy atmosphere composing many of the songs. Lead vocalist Hollye Bynum gives a lot of great performances throughout, showing her singing as more confident than the band’s earlier singles like “Nashville”. The backing vocals (contributed by rhythm guitarist Jillian Karande) are just as strong, though some of the best sounding parts of the album were when both vocalists harmonized, like on “B26” and “Windy Gap”. It’s an element of the band’s sound that I wish they used more.
My favorite track is the lead single, “She”, which is an upbeat pop-rock song that easily has the breeziest and most danceable groove on the album (with the drums provided by former member Sid Nichols). The band’s irresistible energy and chemistry here shines through, accentuated by brief giggles by the band as the song closes. However, while “She” is a great single, it differs a bit from the rest of the album in terms of its accessibility and focus on a pop chorus. Not that this is a bad thing, as mellow and downbeat songs like “It Goes Quiet” and the title track are still strong because of the earnest performances and lyrics, and especially from the lush guitars (from lead guitarist Janie Peacock) in the second half of the latter.
Big Wave is mostly a storytelling album rather than one that’s song driven. There’re points where the tracks can feel more about expressing emotions rather than structure and rhythm. This is most apparent on “JR”, which seems to explode with intensity as a musical emotional breakdown in the second half, as psychedelic guitars bury the vocals before they come crashing down on themselves. The vulnerability given from Bynum’s performances helps make this seem rawer and more effective.
All the songs are good, and the album is easy to recommend to fans of modern indie rock that are more into lyrically driven music. It’s not perfect, as I think it could’ve used another good hook or two and better pacing. Still, the album ends on a bittersweet but hopeful note on “There’s No Sound”, and I think the band still has a lot of talent and potential to build on based on the more promising parts of the album.
Big Wave may end up just being a steppingstone for a band that’s still evolving, but it’s captivating enough to look deeper into it.
