Tag: alternative

A Reflection on Teen Dream, Beach House’s Summer Masterpiece

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Despite the title of this piece, Beach House’s third record Teen Dream was actually released in January 2010. It’s hard to believe it’s over a decade old; the songs here still sound fresh, unique, alive. It stands as one of the best albums of the 2010s (Pitchfork even placed it at 21 on their list), and possibly my favorite album of all time. As my final piece for the semester, without getting too sentimental or digressive, this is my love letter to Teen Dream, and the incredible duo that made it.

The record starts with “Zebra”, the animal that makes up the bright, summery album art (which I did not realize for years; I always thought it was just an abstract series of lines). Nonetheless, it’s a perfect introduction to the record, with chiming guitar arpeggios, soaring vocals, and a huge, immersive sound. As cheesy as it sounds, it really feels as if you’re entering the world they’ve built: the sun is out; the weather is warm but not oppressive; life is blissful, almost nauseatingly so.

Immediately after is one of Beach House’s best songs (which is saying something), “Silver Soul”. I don’t know what to say about this song other than it is the closest sonic approximation of pure ecstasy. The guitars, courtesy of member Alex Scally, are surprisingly heavy despite their sweetness, adding to the song’s massive sound in tandem with the thunderous beat, shimmering keys, and cymbals that crash into the mix every so often. It is blindingly bright, explosive, life-affirming music. And that’s even leaving out Victoria Legrand’s vocals and lyrics, which are some of the catchiest I’ve ever heard. As she repeats “It is happening again” over and over throughout the song, it’s hard not to get lost in all the beauty and lovesickness. (Side note: To hear the song in a rather different context, check out “Money Trees” by Kendrick Lamar, in which producer DJ Dahi samples the song’s intro in reverse to create a woozy, intoxicating beat.)

The final chord of “Silver Soul” transitions beautifully into “Norway”, a dreamy track with seasick sliding guitars, sharp background vocals, and a powerful refrain of the titular Scandinavian country. The following “Walk in the Park” is one of my personal favorites on the album, mainly because it’s such a damn well written song. I’ve said quite a bit about the idiosyncratic sound of this record, but it would be remiss of me to not acknowledge just how fantastic the songwriting is here. Every single hook is an instant earworm, and the lyrics are simultaneously abstract and enchanting, though they can be somewhat hard to make out, as Legrand’s vocals have a similar obscurity to those of fellow dream pop legend Elizabeth Fraser of Cocteau Twins. This song is no exception, with Legrand describing the difficulty of moving on with cutting bluntness: “The face that you saw in the door isn’t looking at you anymore / The name that you call in its place isn’t waiting for your embrace / The world that you love to behold cannot hold you anymore”.

The midsection of the album moves in a similarly moody direction, starting with the pulsing “Used to Be”, full of steady snare and pianos that accent the up-beat. The 2008 single version of this track, released on their 2017 B-sides album, is noticeably different with its distorted beats and lo-fi aesthetics, and while it’s still a good song, I think the album version fits much better with Teen Dream‘s aesthetic. “Lover of Mine” is a unique song in the band’s catalog, mainly in that it sounds strikingly direct. Scally works in some of his most tasteful guitar lines to date, and Legrand’s ominous harmonies on the chorus near a howl. It’s impressive how both members are able to show such skill in moving between restraint and catharsis. The seventh song, “Better Times”, pulls things back a bit for a piece for swaying indie pop, and a welcome moment of rest before the album’s final moments.

I’m pretty sure “10 Mile Stereo” used to be one of my least favorite Beach House songs. I’m not quite sure why that is; it doesn’t have their signature atmosphere, but that’s likely because it’s the closest thing the album has to a banger. The driving kicks, direct melodies, and increased tempo make it sound like a song perfect for soundtracking a scene of a character driving into the setting sun. The duo gives off incredible energy in their performance, especially Legrand’s vocals, which are nimble, soulful, and commanding as she sings “Limbs parallel, we stood so long we fell / Love’s like a pantheon, it carries on forever”. The song holds such melancholy for being so punchy, and that melancholy only grows as it transitions into “Real Love”, a stunning piano ballad and easily one of their most devastating songs. The opening line is one of my favorite lyrics of theirs for its raw emotion: “I met you somewhere / In a hell beneath the stairs”. The chord progression and vocal melody are nothing short of genius, and Legrand’s performance is a real tearjerker. The song is proof that even without all the sonic bells and whistles, Beach House can still write a hell of a song.

The album closes on the best note I could imagine, and that’s “Take Care”, an amalgamation of everything great that came before it. It’s gorgeous, spectral pop perfection, from the humming keys to the shimmering guitars to the sticky hooks. Legrand’s lyrics are deeply romantic, so much so I wouldn’t mind having this song played at my wedding one day. My personal favorite line, apart from the titular “I’ll take care of you, if you’d ask me to”, has to be “Hillsides burning, wild-eyed turning / Til we’re running from it” for its depiction of the manic desperation that comes with loving someone. Honestly, I encourage anyone reading to check out the full lyrics, as they’re quite lovely. Sonically, all the duo had been building for the entire record is fully realized here, even to the point of imitation, as after preventing the song’s use in a Volkswagen commercial, the automotive company licensed what was essentially their own copy of the song. Corporate drama aside, you couldn’t really ask for a better, more intense closer. 

And that’s the album. 10 songs and 49 minutes of dreamy, melancholy summertime perfection. Though they have since gone on to make other fantastic releases (the following two records Bloom and Depression Cherry are particularly good), Teen Dream remains Beach House’s crowning achievement in my eyes. Never in my life have I heard such beautiful, organic, awe-inspiring music, at once otherworldly and undeniably human. Listening to it feels like laying in the sun on a summer day: warm, bright, and blissful, but there are those nagging feelings under the surface: nostalgia, angst, naivety, heartbreak, longing for a time and place that doesn’t quite exist. Everything about it is great; it’s well-performed/produced/written, perfectly sequenced, and artfully packaged. In an effort to avoid gushing forever, I’ll just say this: I absolutely love this record, and I don’t think I will ever stop loving it. I am eternally grateful to Beach House for creating such a brilliant work of art, and being one of the reasons I love music to this day.

My Most Anticipated Albums of 2021

Jackson Mott Leave a comment

Though the year is nearly halfway over, there are still a lot of releases that I’m looking forward to in 2021. While a few artists have actually announced records to be released this year, there are many who have only hinted at the possibility of future projects. As such, this list will include both artists who have set details for their upcoming releases, and those that I’m just keeping my fingers crossed will put out something.

St. Vincent – Daddy’s Home (5/14)

As I’ve already talked about in this column, lead single “Pay Your Way In Pain” did not give me high hopes for this record. It was just too weird, and not in a good way. Second single “The Melting Of The Sun” is actually pretty cool, though! The background vocals are a bit overbearing at times, but overall it’s a groovy, well-written piece of old-school pop. The production is warm and clear, and it sounds like it could be an interesting new direction for her. It definitely appears like she’s going for a full reinvention of herself on this album, as seen in her new look complete with blonde wig and vintage fashion, and I’d love to see how that might be shown in the new sounds she’s working with. That being said, I admittedly didn’t love her last project Masseduction, so I’m nervous about her working with Jack Antonoff again (who seems to work with just about every female pop artist these days). I guess all I can do is trust in her immense talents as a songwriter and musician, and hope for those talents to be realized.

Black Midi – Cavalcade (5/28)

While not entirely familiar with experimental rock band Black Midi, I’d heard a lot of buzz around their 2019 debut Schlagenheim but never quite got into it. However, by the recommendation of a friend, I checked out the singles for their album Cavalcade due out at the end of the month. My feelings on the three songs (one of which is a b-side not included in the tracklist) are pretty mixed, to say the least. Lead single “John L” is, put simply, absolutely insane. The track is characterized by a squawking, stuttering melody, ominous spoken word vocals, uncomfortably long moments of silence, and each instrument making as much noise as possible. I certainly can respect the raw talent and creativity of the members, but I can’t say I fully “enjoy” it, per se. On the other hand, b-side “Despair” is a gorgeous alt rock ballad akin to something off Radiohead’s In Rainbows with its yearning vocals and twinkly arpeggios. It’s a real shame it didn’t end up on the album. The most recent single, “Slow”, features a sharp, panicked melody similar to the one on “John L”, but it’s pulled off a bit better here due to its variations throughout the song. It’s not my favorite track of the year, but it’s a great piece of supremely off-kilter rock music complete with strings, horns, and incredible drumming. Despite having mixed feelings on the tracks so far, the idiosyncrasy of the music as well as the colorful album art have me looking forward to see what the rest of the album has to offer. If nothing else, it’ll be an experience.

Wolf Alice – Blue Weekend (6/4)

Wolf Alice have never fully wowed me with an album, unfortunate as that is. Earlier this year, I heard their popular single “Don’t Delete the Kisses” and was floored with how one song could capture adolescent angst and yearning so beautifully and succinctly. I checked out their two records, My Love Is Cool and the Mercury Prize-winning Visions Of A Life, and was only somewhat impressed. There were certainly great songs, like “Bros”, “You’re A Germ”, and “Yuk Foo”, that showed there’s some real genius present in the band, but I couldn’t get into many of the songs from either album. I pretty much forgot about them after that, until they released the lead single from their upcoming record Blue Weekend, “The Last Man On Earth”. I listened to it out of mere curiosity, and can now say it is easily one of my favorite songs of the year. The song shows so much growth from the band, as if all of the potential I’ve heard only in small parts from them has finally been fully realized. It swells from a somber piano ballad to a swaying rock anthem, with some of the best vocals and lyrics I’ve heard from singer Ellie Rowsell as she bemoans the arrogance of people who act passively in their lives with the expectation that God will “shine his light on [them]”. The following single “Smile” isn’t quite as mature with its half-spoken, half-rapped vocals and muscular riffs, but it’s a strong song. The performances are energetic, and I like that the band sounds like they’re having fun, something I’ve always admired about their music. If the band keeps things as well-written and engaging as the singles, they just might release an album I love from front to back.

Deafheaven (2021)

While nothing’s been officially announced, Deafheaven’s management Sargent House confirmed in a tweet last month that they will be releasing new music in 2021, along with labelmates Lingua Ignota and Detroit band The Armed. They’ve received acclaim for just about everything they’ve released so far, including their most recent and arguably most accessible album Ordinary Corrupt Human Love, and I’m excited to see how they continue advancing the sound of modern metal.

Lorde (unannounced)

The world needs another Lorde album. It’s been nearly four years since her incredible sophomore record Melodrama, and she’s remained largely out of the public eye since touring in support of it. She’s given occasional updates to fans through her mailing list, detailing her time mourning the loss of her dog Pearl,  working with Jack Antonoff (again), and a trip to Antarctica documented in a new photo book. She says the new album is “so f**king good”, and I’m inclined to believe her. I just hope I can verify that claim sooner rather than later.

Beach House (unannounced)

There are no set plans for a follow-up to 2018’s 7, but Beach House have remained busy since, most recently soundtracking a Las Vegas art exhibit by the collective Meow Wolf. In an interview on the exhibit in Rolling Stone, the duo claimed to be working on new music, but “without any set endpoint in mind”. I personally would love to hear them explore a bit sonically, despite loving how consistent their sound has been throughout their career. I thought 7 was a decent record, but it just didn’t have the same otherworldly quality present in their best work (and some of my favorite albums of all time; more on that next week). Nonetheless, they’re one of my favorite artists for a reason, and they’d have to do a lot to disappoint me.

 

Albums for Your Springtime Enjoyment

Jackson Mott 1 Comment

Since it’s starting to become a little nicer outside and the semester’s ending soon, I figured I would talk about a few records I enjoy listening to in spring. Feel free to check ’em out and give some feedback if you feel so inclined. I hope y’all are doing well out there.

Congratulations – MGMT

I heavily associate an album’s artwork and the actual sound of the music, as well as with what time of year it reminds me of (as you’ll see in the other records on this list), and there’s not really a better example of that than MGMT’s Congratulations, the followup to their debut Oracular Spectacular. You know, the one with “Kids” and “Electric Feel”. As much as I love those early singles, I’m happy Congratulations isn’t just another helping of that sound, though many fans and critics don’t have the same feeling (that lukewarm 6.8/10 score from Pitchfork is still a surprise; they normally lose their shit over artists subverting expectations and all that). But, all early 2010s context aside, this album is full of bright psych pop and rock, as colorful as the cover. Across the nine songs, you can hear the a variety of inspirations the band is pulling from: 70s prog rock, Brian Eno (see: “Brian Eno”), British post-punk band Television Personalities (“Song for Dan Treacy”), surfing in the Arctic Circle (the 12 minute, multi-faceted “Siberian Breaks”). If that all sounds a bit silly and all over the place, that’s because it is. Yet, it works. It’s genius, in my mind, a shining example of combining experimental ideas with pop songwriting, and deserves a spot in your spring album rotation.

Brand New Eyes – Paramore

What a classic. I’m not exaggerating when I say every single song is a hit. I mean, come on: “Ignorance”, “Playing God”, “Brick by Boring Brick”, “Turn It Off”? What more do you want? Even the Grammy-nominated single “The Only Exception” and emotional powerhouse of a closer “All I Wanted” are on here. Hayley Williams sounds incredible as usual on this album, proving why she remains one of my favorite vocalists in music. It’s just a super solid emo / pop punk album, with great hooks, great lyrics, and great performances. It might sound cheesy, but just listen to the bridge of “Where the Lines Overlap”, when Hayley sings “I’ve got a feeling if I sang this loud enough, you would sing it back to me” and try not to shout along, or at least smile. And, yes, it’s over a decade old, so it sounds fairly dated, but I’m okay with that. It’s one of the few records I listened to in middle school that I can come back to and still enjoy the hell out of. If you’re looking for an album to sing along to in the car, this is it.

Francis Trouble – Albert Hammond Jr.

Francis Trouble is the 2018 solo album by Albert Hammond Jr., the musician best known for playing guitar in The Strokes, one of my favorite bands. Put simply, this is just a super fun rock record. It somehow takes all the most melodic sensibilities of The Strokes and distills them into some of the catchiest music I know. Hammond Jr.’s voice is quite different from that of Strokes’ frontman Julian Casablancas, though that’s not a bad thing. His more nasal, carefree tone is perfect for the pop and garage rock on this album, as evidenced by tracks like “Dvsl”, “Far Away Truths”, and “Strangers”, which each have some of the best hooks of rock songs in recent memory. The album is admittedly front-loaded, with the first four songs being the most immediate, and some of my most-played songs of the year. Still, there are still some late album highlights like the aforementioned “Strangers”, which is pure genius in pop songwriting, as well as the dark, groovy “Rocky’s Late Night”. It’s a quick, easy 35 minute listen worth throwing on at a party or if you just feel like doing some air-guitar alone in your room.

Mia Gargaret – Gia Margaret

To close things out on a chill note, Mia Gargaret is a gorgeous ambient album, and one of my favorite releases of last year. Gia Margaret, a purveyor of what she calls “sleep rock”, caught my attention with some of the ballads from her 2019 debut There’s Always Glimmer, but this record features a largely different approach, with her vocals only appearing on the final track, “lesson”. Instead, it sounds just like the cover suggests: buoyant, textured, serene. I love the gentle electronics that dominate much of the record, but arguably my favorite moments on the record are when Margaret utilizes live instrumentation. Two great examples of this are “lakes”, made up of warm acoustic guitar and sounds of waves crashing, and “3 movements”, which, as the title suggests, is a series of three stunning, pensive piano movements. I think what connects this album to spring for me is just how organic it sounds, like it was created both in and for nature (funnily enough, the opening of “sadballad” sounds right out of Mother Earth’s Plantasia). It’s perfect for an afternoon spent daydreaming, walking, having an out-of-body experience, or all of the above.

March Album Chart

Here are all the albums I listened to this month. I was in a musical rut and mainly listened to a few albums over and over (looking at you, I’m Wide Awake It’s Morning), so I don’t have as many as I’d usually like to. That aside, I did listen to two albums that aren’t too popular in their respective artists’ discographies, Angles by The Strokes and Codes and Keys by Death Cab for Cutie, and had some fairly positive results. Angles was about as good as I thought it would be, with no real bad songs but none quite as good as lead single “Under Cover of Darkness”. Codes and Keys, however, I actually really enjoyed. It’s one of their most disliked albums, with critics calling it boring, lazy, and predictable, and lead singer Ben Gibbard even ranking it lowest out of their records in a 2018 Vice article. It’s no Transatlanticism, or perfect by any means, but it’s an admirable set of songs full of piano, strings, a tight rhythm section, and some of Gibbard’s brightest melodies.

 

 

 

Hidden Gems: Fashion Nugget by Cake

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This week’s Hidden Gem is a deep cut from 1996 by the relatively obscure band Cake. If you don’t recognize the band, you might recognize one of their most popular songs, I Will Survive. To most people, Cake is a one-hit wonder, which might even give them more pop culture credit than they deserve; however, I’ve recently rediscovered their work and won’t hesitate to say that they are grossly underappreciated. Cake is the perfect combination of humor, experimental musical ideas, and genuinely good instrumentation, all of which are perfectly displayed in their sophomore album Fashion Nugget. Each track on the album is a unique experience with its own personality, but all related by the charming charisma of the band’s aesthetic.

The Distance was my first introduction to the band and immediately became one of my favorite songs. It starts out with an incredible intro: the lead singer gives an intense and understated vocal delivery as a throbbing bass drives the song forward. Then the drums and lead guitar come in, simple yet effective, perfectly accenting the lyrics and atmosphere. There’s an incredible buildup, an awesome drum fill, and then a heavy strumming guitar that is absolutely brutal and driving. Brass accents are sprinkled throughout, giving the song a dramatic and charismatic feeling. The plot of the song is extremely interesting and well-written, with a central character who is racing even after the race is over and therefore “going the distance”. These lyrics summarize the theme of the song the best:

The sun has gone down and the moon has come up
And long ago somebody left with the cup
But he’s striving and driving and hugging the turns
And thinking of someone for whom he still burns

Cause he’s going the distance
He’s going for speed
She’s all alone
In her time of need

These words really resonate with me; I can understand what it’s like to be pursuing something to the ends of the Earth when it’s actually in reach the whole time, but is neglected in the heat of the pursuit. It’s easy to extrapolate these feelings to important things in life, like love, success, and happiness. The theme of the song is incredibly tragic, in that the protagonist aspires to some unreachable, yet noble ideal. It’s easy to think that they’re misguided and over-ambitious, but if you’ve ever been in a similar situation, you can recognize and appreciate the narrow-sighted drive to “go the distance”. I think the song is surprisingly interesting to say the least, and the high quality instrumentation and charisma make it a great example of what Cake does well.

There are a lot of other songs off the album that are similarly exciting, with some of my favorites being I Will Survive, Friend Is a Four Letter Word, and Nugget. Each one drips with the same charisma, while also showing off the different aspects of Cake’s musical talent. They dabble in every genre of music with a surprising amount of success, which makes this album a thrill to listen to from start to finish. The entire album is a perfect mix of classic alternative rock and more experimental and odd ideas; none of the songs take themselves too seriously which prevents them from sounding pretentious or overbearing. Overall, Fashion Nugget is the prime example of a hidden gem: it’s underappreciated and overlooked, but full of surprises that make it an incredibly unique piece of art.

Pity Sex: One of Ann Arbor’s Finest (Former) Indie Bands

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Pity Sex is a really great band name. It brings to mind the image of a grimy hardcore punk band known for their moshpits and blistering sound. That is not the kind of band Pity Sex was. Sure, their music is full of noise, but it’s far too sweet and melodic to be considered anything close to hardcore, which isn’t necessarily a bad thing. While they weren’t the most influential or captivating band in the scene, they put out some good stuff in the five short years they were active.

Pity Sex formed in 2011 in Ann Arbor, Michigan, as part of a local emo revival birthed out of Sigma Phi, also known as Metal Frat. Their core lineup of Sean St. Charles on drums, Brandan Pierce on bass, and Britty Drake and Brennan Greaves sharing guitar and vocal duties remained consistent until Drake left the band in 2016. After a split cassette with fellow Ann Arbor band Brave Bird, the band released their 2013 debut EP, Dark World. In brief, it’s a short, solid set of songs that mainly dabble in indie rock and shoegaze, though it’s tinged with 90s alt rock and emo sensibilities, at their most cloying sounding a bit like Pinkerton-era Weezer. The band hadn’t really honed their sound at this early point in their career, which made them sound a bit one-dimensional, but there’s something to be said about how well they portray adolescent angst and desire in the dreamy walls of sound and dramatic vocal tradeoffs between Greaves and Drake. Their most well-known song, “Dogwalk”, also came from this EP, and it makes sense why it had such popularity. It’s got a loose, infectious vibe characterized by a slinky guitar line that transforms into brittle noise on the chorus, as well as a catchy vocal melody and an admirably amateur-ish performance. The high-energy instrumental bridge is a nice, unexpected moment, too.

In the same year, they released their debut album, Feast of Love on notable indie label Run For Cover Records. This record saw them operating in much of the same sounds as their EP, with some notable improvements. Opening song “Wind-Up” doesn’t reinvent the shoegaze wheel, but it’s some of the band’s best songwriting, most noticeable in the earworm hook and inventive guitar and bass interplay. “Sedated” and “Honey Pot” are similarly bold and infectious (and actually transition into each other quite nicely!), though the real highlight comes in the mid-album moment of respite “Hollow Body”. The band strips things back to just gentle guitar arpeggios and Drake’s dreamy vocals, and it’s such a refreshing change of pace. It’s simple, elegant, and absolutely mesmerizing. I would have loved to hear them explore this lighter sound more in their time as a band.

Following the release of their debut, Pity Sex toured with some pretty impressive acts in the scene, including Basement, Tigers Jaw, and Code Orange side project Adventures. Following this, they released what would be their final album before going on an indefinite hiatus, White Hot Moon. As with their other releases, it’s an enjoyable, bright record with several highlights (the title track is especially great in its heaviness), but suffers from much of the same problems as well. They had certainly mastered the lo-fi, hazy shoegaze/dream pop sound reminiscent of classic acts like My Bloody Valentine, but throughout their career, they failed to innovate and move past their influences into their own distinct sound. It’s a shame their career was so short-lived; I think it would have been interesting to see how they may have evolved with future releases, especially as they became more established musicians, though I admire their DIY, fledgling spirit. Nonetheless, if you’re looking for music by some Ann Arbor natives, or just some solid music to throw on in the background at a party (or makeout session, if you’re feeling romantic), Pity Sex is a great choice. Let’s hope they reunite for some shows when those are a thing again.

 

Sidenote: I also think all their album artwork is beautiful!

 

Pity Sex Dark World.png

 

 

Dark World EP  (2013)

Songs to check out: “When You’re Around”, “Dogwalk”

 

 

 

 

 

Feast of Love  (2013)

Songs to check out: “Wind-Up”, “Hollow Body”, “Sedated”, “Honey Pot”

 

 

 

 

 

White Hot Moon  (2016)

Songs to check out: “What Might Soothe You?”, “Plum”, “Nothing Rips Through Me”, “White Hot Moon”

 

 

Album Review: Little Oblivions – Julien Baker

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Little Oblivions

Matador (2021)

Julien Baker has always been somewhat of a paradox. She’s an openly queer woman who also happens to be Christian and from the South, specifically Tennessee. She writes simple, beautiful songs about complex topics like human nature and addiction. It seems to work for her, though, which is especially true on this new record, her third following two well-received albums and an EP with former tourmates Lucy Dacus and Phoebe Bridgers as the indie supergroup boygenius. I found her 2015 debut Sprained Ankle and 2017 follow-up Turn Out the Lights to be enjoyably raw, devastating listens, but I always wanted her to expand her sound from the simple guitar-and-vocals approach she’s known for.

Little Oblivions serves as a full reinvention of Baker’s sound; it’s still her own, but presented in a much bolder, expansive package. This is largely due to Baker’s talents as a multi-instrumentalist: in addition to producing it, she plays nearly every instrument on the album, including guitar, bass, drums, piano, mandolin, banjo, and more. Simply put, it sounds massive, as if all the emotions contained in her lyrics have finally found an equivalent in the music itself. This evolution is immediately clear on the opener, “Hardline”, which, frankly, is one of the best songs she’s ever written. I’d even say it’s an early contender for song of the year. The song opens with harsh, blaring organ chords, an unexpected move that works incredibly well. Like much of Baker’s work, the song is an emotional powerhouse, but this one truly feels like it, using atmosphere and dynamics in a way her other tracks just didn’t explore. The drums are hard-hitting, the synths and guitars are bittersweet and heavy, and Baker’s vocals are better than ever. The lyrics are even more devastating than usual; one line I keep coming back to for its bluntness is when she asks, “Would you hit me this hard if I were a boy?”. It’s as good of an intro one could ask for.

From this point on, the album is consistently dense and troubled. It sticks fairly closely to the lush indie rock sound presented on the aforementioned opener, but that isn’t necessarily a bad thing, because for Baker, it’s all pretty new territory. Early album highlight “Relative Fiction” is about as groovy as a Julien Baker song could sound, all tight drums and light melodies, though it still holds onto her trademark introspection and self-deprecation in the lyrics. A bit later, Bridgers and Dacus lend their vocals to “Favor”, though it doesn’t exactly sound like a boygenius song. It’s actually a hazy, intoxicating ballad depicting the inherent drama and self-disparagement that comes when admitting guilt: “If I didn’t have a mean bone in my body, I’d find some other way to cause you pain / I won’t bother telling you I’m sorry for something that I’m gonna do again”. Other personal favorites include the driving lead single “Faith Healer”, as well as sparse piano ballad “Song in E”, which provides a much-needed moment of calm on the album.

However, as much as I like it, I don’t think this album is without its flaws. The main issue I have with it is I find the mix to be a bit smothering at times in its densely layered style. I think the record would benefit from giving all the different sounds some space and thus allowing it to have a vast, open sound. That isn’t to say I think it sounds bad or is poorly produced; it’s a gorgeous listening experience, albeit a bit disorienting. On a similar note, I would have liked there to be a greater focus on balance in terms of song intensity. There aren’t many songs that allow the listener to just breathe for a second, which perhaps is intentional given the emotional content of the record. When listening to the album in preparation for this review, I found myself repeatedly coming back to those little moments of simplicity on the album: the acoustic arpeggios in the midsection of “Highlight Reel”, the buildup of muted guitar and hushed vocals on “Heatwave”, all of “Song in E”. While I think Baker can definitely pull off the full-band sound, I admittedly miss the intimate nature of her earlier work. The bigger sound can take away from the raw power and beauty of her vocals and writing, though it is clear from the lyrics that she is no less vulnerable in her music.

All in all, Little Oblivions is a great record from a great artist. It’s a huge artistic leap, and although I’d argue she hasn’t completely mastered the larger sound, I believe it’s definitely something she can and will master on future releases. The writing is better on some songs than others, but it’s incredibly solid as a whole. It has a cohesive, enveloping sound throughout, like a night spent lying in bed, dissociating in the dark. Her ability to write such vulnerable, ruminative lyrics is a testament not only to her musicianship, but her devotion to near-constant self-examination and betterment as well. I honestly could have written a whole other post on her lyrics, and perhaps I will in the future. Most importantly, while I still love the uneasy nature of her previous work, she sounds confident as ever on this album, which I cannot help but admire. Everything here, from the lyrics to the melodies to the instrumental presentation, cements Julien Baker’s status as one of the most honest, brilliant songwriters out there today. It’s truly life-affirming stuff, and I highly recommend it.

~~~

Side note: I’ll be posting a chart of the albums I’ve been listening to at the end of each month on here. Here’s what I listened to in February! What have you been listening to?