Type: Album
Genre(s): Indie Rock, Garage Rock Revival
From: USA, Kentucky, Bowling Green
Release: October 8, 2013
Producer(s): Jay Joyce
This record is as inconsistent as it is enjoyable — if that makes any sense. It has enough moments of grandness to make up for its lulls and still come out an applaudable effort. Moreover, it successfully mixes moments which are euphoric, joyous, and downcast in what is effectively a commendably wide palette of emotions. All of this is cohesively held together by a clean production with well-timed and well-placed moments of dirt and grime when needed.
Lyrically, the record is fairly varied thematically, although —personally— not the main attraction of the record. That being said, the songwriting can be quite hard-hitting when it wishes to be, especially because of the band’s ability to write songs with evocative imagery which compellingly aids the messages/emotions being transmitted.
•Low 8•
Highlights: Come a Little Closer, Halo, Hypocrite.
Lowlifes: Take It or Leave It, Black Widow.
Track-by-track review
Spiderhead is an energetic cut with expressive performances and an admirably unexpected breakdown. Moreover, it contains lyrics that touch on a hurtful dynamic within a troubling and rocky relationship. The way that this topic is approached is —to an extent— rather playful because of how the vocal delivery balances the downcast writing out.
Low-Mid 8.
Come a Little Closer is another water-tight track with a great bassline as the main highlight; additionally, it boasts quite a memorable chorus which is introduced by a surge of guitars carrying an electrifying tone. Lyrically, the song is a jab towards those who are quick to judge without any knowledge of what they’re pointing fingers at. It also acts as an expression of wanting to stay grounded and tethered to reality, so as to not let our dreams get the best of us.
High 8.
Telescope is a rather bleak cut, with emotive lyricism about depression; which poetically paints a saddening picture of the recurring, hindering states of mind of the speaker. However —instrumentally— it’s a slightly more humdrum song when compared to other, more engaging tracks. Although the second half is a hard-hitting change of pace, the rest is not as memorable (although still solid).
Mid-High 7.
It’s Just Forever touches on a blatantly and uncomfortably obsessive relationship. Sonically, the bridge is a tad disappointing, mostly because of Allison Mosshart’s vocal performance. This is because it’s somewhat over-exaggerated and cartoonish, and thus doesn’t fit all that well with the rest of the cut. Moreover, the verses are not massively strong because of how they lie awkwardly in the line between angsty and overly clean. However, they do contrast greatly with the explosive chorus, which is definitely an expansive highlight within the song — especially with that applaudable change in rhythm.
High 7.
Take It or Leave It is the antithesis of the last track: this time around, it explores how a lack of commitment can affect a relationship. It has some really enjoyable guitar and bass tones; however, the verses bore a bit and the chorus becomes repetitive after a while. Overall, it’s nice and amicable in one breath, but simultaneously forgettable and unevocative.
Mid 6.
Halo delves into the topic of addiction in quite a convincing manner, admonishing oneself after realising that you can’t stop despite how wrong it feels. Instrumentally, it has another great bassline that cohesively complements the echoed guitar tones. Moreover, the vocal performance is enjoyably heartfelt and greatly embellished by distortion effects. This tight strength is also carried over to a memorable chorus; making the whole cut a consistent experience.
High 8.
Black Widow is —lyrically— a rather iffy take on sexual attraction and the femme fatale trope. In addition, I’m not a fan of the falsetto vocal performance; also, the chorus is over-the-top, and not all that charming. The brass is also scrappily put together as it sticks out in an unflattering way. However, during the verses when the vocals are normally delivered, the bass also is given the opportunity to shine in what’s (personally) the strongest part of the cut. Sadly, the second half of the track opts for endless chorus repetitions and instrumental breaks that only contain the aspects I dislike.
High 6.
Hypocrite seems to be about regret in the face of pretension — seemingly within a relationship. Instrumentally, this is another track with a great hook. On top of this, the tom-heavy drum arrangement and performance are also highlights within the track. All in all, it’s a straightforward and playful cut that plays to the recurring strengths this record has (especially in guitar tones and vocal performances).
High 8.
Teeth begin as a euphoric, drug-use-alluding take on the energetic prowess of music. However, this is only for the first half of the song — the latter of which lets down with a faux-conscious spoken word passage: an eye roll-inducing and irritatingly erroneous take on the music industry (and artistry as a whole). That being said, the songwriting is undeniably commendable and paints a couple of interesting images along the way. Instrumentally, it’s an undeniably effective structural decision as well — the change of pace midway is immediately immersive, especially with its enjoyably blaring and playful brass arrangements which contrast with the explosive guitars of the first half.
Low-Mid 8.
Cigarette Daydreams is —lyrically— a quintessential and beautifully executed breakup song. Audibly, it’s also beautiful: the melancholic acoustic-guitar-plus-vocals arrangement, along with the fitting piano complementation, are all brought to life through highly likeable performances. Additionally, the drum accompaniment, the string section, and the intimate production all further add to this cut and make it a most fitting closer.
Mid 8.