Category: Reviews
Ought: ‘Room Inside the World’
For a band that has excelled at portraying the several variations of panic, Ought have always kept great focus on being human in the center of an expansive map. The boldest step the band could make after 2015’s Sun Coming Down was perhaps toward the only place bigger than the planet: the subconscious. Room Inside the World is a dialing-down of the volume, but a true flexing of the band’s understanding of internal dynamics. This album is their biggest change in form and will go down as their most accomplished release yet.
Tim Darcy’s first croon into Room Inside the World, “Into the Sea,” is a Roy Orbison-like slide into the introspective: “I can’t be here in my way again.” Darcy’s lyrics have always pertained to a call-to-arms of taking on the mundane; even running errands was a declaration to the world. On this release, the hushed richness of his delivery is just as pronounced as any shout that we’ve heard on “More Than Any Other Day.” The entire band has grown in confidence, from the jangle-pop of “Disaffectation” to the shifts of “Take Everything.” Their foray into the love song, “Desire,” is a slowed-down, intimate track met with John Mellencamp-like storytelling of fleeting, but vivid romance. The track concludes with a choral response, and even in the falling apart that ensues in the closing minute, we’re met with an aftermath of assurance. Ought’s confidence in their songwriting ability makes these songs seem like their next path as opposed to a grand departure.
The crown jewel of the album, “Disgraced in America” is an exercise in that confidence. In the past, the band’s reliance on repetition has been where they flourish, but a change in style and rhythm show us that saying something out loud doesn’t make for self-reflection. The tightly-wound drums and light vocal work show a reflection that we haven’t heard from this band prior. “Disgraced” is three minutes shorter than a lot of their other punctuated tracks of the past, but it is their most nuanced track to date.
When looking deeply in ourselves, we may not always like what we find. “These 3 Things” is a dealing with material and physical guilt: how can we expect to be of service when we have instincts that will forever tie us to selfishness and gluttony? Can we really be against something that we subconsciously desire? These questions are anxiety-provoking, and Ought have learned to backdrop them with sound textures as opposed to just volume.
It’s easy to call this album more subdued and introspective than previous releases, but this album holds just as much chaos as anything Ought have released. It’s one thing to use nervous energy to proclaim your presence to an unforgiving world, but another to use that same energy in an act of meticulous self-care. What we are left with in the end is an acknowledgement and ablution of self-doubt. Room Inside the World doesn’t play like a how-to as much as a story of survival–a story that we all know and tell as we try to make ourselves better people.
8.1/10
Born Ruffians: ‘Uncle, Duke & The Chief’
In their latest release, Uncle, Duke & the Chief, Born Ruffians continue to do exactly what is expected of them: yodel out jangly, catchy indie rock tunes. Whether or not you’re fatigued by the lack of substantial evolution from the band who released their first full-length album almost 10 years ago is for you to decide. In 2008, the three-piece outfit felt aligned with their indie contemporaries in a genre that was making waves, but unlike many other bands, stuck to their guns and their signature sound regardless of indie rock’s peak and plunge from the spotlight. Miraculously, however, their steam-engine mentality has landed them back in an era that once again appreciates safe, feel-good indie rock, and that brings us to Uncle, Duke, & the Chief.
Title track “Forget Me” kicks off the album with stripped-down rhythmic guitar strums supporting Luke Lalonde’s twangy vocals that often enter into The Black Lips’s Jared Swilley territory in their visceral screechiness. Lalonde’s distinct voice is the puzzle piece that elevates Born Ruffian’s fifth LP into more interesting territory. Listening to the second track, “Miss You,” might lead one to the conclusion that Lalonde is a robot who has been studying human behavior for years and has boastfully published his thesis which reads, “I really miss you / I miss you so much baby / I miss you now / but do you miss me the way I miss you baby?” But the disconnect between the lyrics, the upbeat, heavy instrumentals, and Lalonde’s emotional yet lighthearted singing somehow works in the context of the album. Born Ruffians are masters of melody and composition, assuaging their listeners with an almost-indistinguishable warbling synth note here and there, nostalgic whistles, and euphonic cascading guitar riffs as on “Side Tracked,” crafting a lulled atmosphere that makes the blasé lyrics fade into the background. In other words, Born Ruffians sufficiently compensate for their weaknesses.
Uncle, Duke & the Chief maintains variety in its 9 songs clocking in at about the 30-minute mark. The soft rock rhythm section underscores the soulful pop vocals on “Side Tracked,” which is followed by a driving reverbed drum beat on “Fade to Black,” which is immediately followed by the nostalgic ballad “Love Too Soon” containing Mac Demarco-esque hazy guitar effects. Born Ruffians understands that the middle of the album is where listeners tend to get lost and deplete their arsenal of creative tactics on tracks 3-5. Unfortunately, past track 5 they weaken with four stale (and almost awkward in the case of “Tricky”, which seems like a desperate attempt to jar listeners into paying attention with its harsh marching-band drum beat and mechanical guitar screeching) indie rock tunes that don’t have much to offer save for Lalonde’s enduringly pleasing vocals.
Overall, Uncle, Duke, & the Chief reinforces the fact that Born Ruffians knows who they are and will never change, for better or worse. Listeners who are craving more catchy, melodic tracks from the indie group will without a doubt enjoy the album, which is lush and well-crafted with a few missteps. As long as no one is desperately craving some deeper emotional vulnerability from the band, whose generic lyrics continue to frustrate (mentioning masturbation on “Love Too Soon” is about as gritty as it gets), there’s enough to like about this album to give it a listen.
7/10
Wild Child: ‘Expectations’
There are love songs, there are breakup songs and then there are the songs on indie-pop band Wild Child’s newest album, Expectations. They describe relationships in limbo, which is an all-to-relatable status nowadays. The members of Wild Child have successfully managed to mature sonically while still remaining true to their fundamentals. While the band has certainly grown in numbers over the years, the tracks on their newest album succeed in paying homage to their earlier, simpler days.
Expectations is by far the Austin-based band’s most passionate album. The lyrics are introspective and especially impactful alongside Kelsey Wilson’s powerful vocals.
While the first track, “Alex,” is my personal least favorite of the album, I have to respect the choice to kick off the somewhat serious album with a more lighthearted sound. Now don’t get me wrong; the track still has the same push-and-pull relationship drama storyline that much of Expectations deals with. Title track “Expectations” builds momentum until around 3:20, where you can really hear Wilson’s emotions pour out through the vocals. At one point, her voice actually reaches a scream, which would almost seem out of place for Wild Child, but context justifies the move, and the experiment is magnificently successful.
The title track, along with other up-tempo tracks including “Back & Forth” and “Think It Over,” demonstrate not only Wilson’s vocal chops and passion, but also the growth and development of the rest of the band. This many-layered album is a particularly good example of the wide range of talent Wild Child contains. Whether it’s a trumpet, violin, cello or ukulele, the band seems to always find a way to build upon their sound.
The slower tracks on Expectations are no exception. “Follow Me” is arguably the band’s most sensual song to date. And I can’t ignore the fact that the combination of “Sinking Ship,” “My Town” and “The One” legitimately made me cry. You know you’ve got a powerful album when one fourth of it brings out actual tears.
There were times in Wild Child’s 2015 album, Fools where I felt they were getting dangerously close to losing their signature, stripped down and simple sound. Where Fools lost that, Expectations has found it again with ease. “The One,” released as a single and as a music video, reminds me that it’s the harmonies of Kelsey Wilson and Alex Beggins that first made me fall for this band. While the rich texture found in their more upbeat tracks relays more passion at times, there’s nothing like Beggins’ ukulele.
Overall, Expectations pulls at your heartstrings. I hate to fan girl even more, but here’s to hoping we won’t see the last of Wild Child anytime soon.
7.5/10
MGMT: ‘Little Dark Age’
No matter what you think of MGMT, you’ve got to give them props for refusing to become stale. The band has evolved from their original bohemian rocker aesthetic, refusing to be defined solely by Oracular Spectacular, the hit album that boosted them into the spotlight over a decade ago. That being said, their newest album, Little Dark Age, tells me that they’re still not quite sure who they want to be.
Their first two singles, “Little Dark Age” and “When You Die,” which were both accompanied by music videos, made many think that they had begun to find an image. The “Little Dark Age” video shows a transition to a new, goth-pop territory; while “When You Die” makes it clear that they’re still not done using trippy, out of this world visuals.
In many ways, Little Dark Age does succeed in balancing the fine line between experimentation and clutter, in ways that their 2013 self-titled album failed to achieve.
The return of catchy hooks and seemingly effortless lyrics found in their first two singles, along with many others on the album, give the impression that the band is finally willing to lean into the commercial success of Oracular Spectacular and the upbeat rhythms, synths, and special effects that come along with it, without abandoning their obvious desire to develop more maturity in their sound.
In many tracks, including “One Thing Left to Try,” “Me and Michael” and the title track, “Little Dark Age,” MGMT demonstrates an evolution of sorts as they embrace the darker sounds of ‘80s synth pop, which works for them. After the “Little Dark Age” video was released, many comparisons were drawn between MGMT and The Cure, with a confident Andrew VanWyngarden boasting long, dark hair and eye makeup as he sang the gothic lyrics of the track.
However, “She Works Out Too Much,” and “TSLAMP” find the band back to grasping at straws when it comes to their sound. “She Works Out Too Much” is an overexertion of energy (no pun intended), sounding more like parody than originality. MGMT has succeeded in the past, and even on this album, in making powerful, societal remarks throughout their songs, but “TSLAMP” is too on-the-nose and obvious to be impactful. “TSLAMP”–standing for “Time Spent Looking At My Phone”–speaks of the trivial obsession with the cell phone, honing in on a message that’s far from revolutionary, bringing nothing new to the conversation but a cringeworthy attempt at a call-out.
Overall, Little Dark Age shows some serious growth for MGMT but still falls short at points. Slower tracks like “When You’re Smaller” and “Hand It Over” are reminiscent of Congratulations, (in a very welcome way), while “James,” which was recorded while the entire band and the producer were tripping, exemplifies MGMT’s tendency to try too hard to be unique and far out.
This album is difficult to decipher, albeit an important next step in MGMT’s journey to self-identification. The band is still teetering somewhere in between not caring what people think and caring too much, but their ability to converge organic sounds, steady beats and melodies is ever undeniable.
7/10
Shaky Knees 2017: Rising Above the Rest
Day One
Day One of Shaky Knees kicked off bright and early with a set from Cymbals Eat Guitars over at the Ponce de Leon stage. Not a bad way to jump start your day, with front row head-banging right at the crack of noon. The lineup for Friday was overwhelming in the best way, with no down time from one kickass band to the next. We’re genuinely surprised we even found time to eat anything. We ran straight from Cymbals to Zipper Club, then on to Temples followed quickly by Margaret Glaspy (hero), and from Glaspy we hauled over to Car Seat Headrest. Post Car Seat at the Peachtree Stage, we made it to The Growlers on the Piedmont Stage for half a set, and then booked it back to Ponce to catch everyone’s new favorite band, Pinegrove.
Pinegrove’s set was one of the most anticipated of the day for us (although, with this bottomless smorgasbord of fantastic artists, it was hard to choose which set to get the most pumped for), and we weren’t alone. Though the Ponce stage was the smallest of the three, the New Jersey band commanded a crowd, and personal space was impossible to find. The six-piece folk rock band took us through most of 2016’s Cardinal, only leaving off third to last track “Waveform,” which…yeah, we get. Even though we’re probably never going to see them play our favorite track “Peeling Off the Bark” from 2015’s Everything So Far, they did pull out “Angelina,” “Problems,” “The Metronome,” and “Recycling” from their debut release, so we were more than satisfied. They also played big guns “Old Friends” and “Aphasia,” and ended with our latest on-constant-repeat obsession “New Friends” for the finale.
From Pinegrove, we settled in at the main (Peachtree) stage for Wolf Parade, followed immediately by Portugal. The Man, and then Cage The Elephant.
Matt Shultz’s presence as Cage The Elephant frontman Friday at Shaky Knees is not the first time that crowd chatter has compared him to Mick Jagger. Shultz’s stage presence is memorable, to put it lightly. While he isn’t exactly Jagger, he has surely proven himself as an epic (and we don’t throw that word around too often) performer time and time again. Cage’s Shaky Knees set was mega high energy and captivating.
Post-Cage, we fought our way to a good vantage point at the Piedmont Stage for Pixies‘ set, which was a lot easier to obtain after a third of the crowd dispersed halfway through the set once the band finished “Where Is My Mind?” (really, guys?). Side note: bless Shaky Knees for booking the Pixies for two years, first in 2015 and again this year. Anyone who missed this set made a huge mistake. We’re still reeling.
Legends in their own right, headliners LCD Soundsystem took the stage Friday night of Shaky Knees like the kings of electronic rock they are. They walked onto the stage to the Peech Boys’ anthemic “Life Is Something Special,” a fitting opener to one of the best and most highly anticipated sets of the weekend. James Murphy then commenced orchestrating a giant festy dance party as the group worked through a setlist that catered to all, especially lovers of their debut self-titled and 2007’s Sounds Of Silver, breaking down into a beautiful, swaying close with “All My Friends.”
Day Two
Day Two was definitely the slower day of the festival, on top of being the rainiest of the three. (Though to be real, it only seriously rained for about five minutes and was a welcome refresher from the heat.) While Friday and Sunday both boasted lineups that were destined to have us well over our daily “steps” goals with all of the time-overlap sets we’d be running to, Saturday’s offerings gave us a little more down time to catch some shade or, you know, actually taste the food truck fare we were scarfing down.
The day started promptly at noon again, this time over at the main stage for North Carolina duo Flagship followed by LA’s The Record Company, and then on over to the Piedmont Stage for British pop singer Bishop Briggs, who you may recognize from her mega hits “River” and more recently “Wild Horses.” Since “River” first released in January 2016, Briggs has been rapidly climbing the charts. While her soulful performance was a great introduction for new fans, we would love to see Briggs break away from sounding exactly like her recordings and bring something extra to her live performance. We’re super excited to see what is in store for the emerging artist, and we’ll be keeping an eye on her for sure.
Dr. Dog was the most anticipated set of the day for us, and we posted up at the Piedmont Stage to catch the psych rock band for their early evening set. The band took the stage and wasted no time on teasing the audience, launching right into fan favorite “How Long Must I Wait” off of 2012’s Be The Void, later on also gifting us with tracks “That Old Black Hole,” “These Days, and “Heavy Light” from the same album. The rest of the set consisted of a good mix of their catalog, surprisingly lacking heavy focus on this year’s Abandoned Mansion and also exploring 2013’s B-Room as well as 2010’s Shame, Shame, with a couple of tracks from 2008’s Fate and last year’s The Psychedelic Swamp for good measure. They closed the set with their signature cover of Architecture in Helsinki‘s “Heart It Races.”
Day Three
Day Three was a beast. Starting off with Hoops at the Piedmont stage at 12:30 p.m., it’s hard to pinpoint what the highlight of the day was between sets from Whitney, Hamilton Leithauser, Fruit Bats, Third Eye Blind (might be a real contender, because #nostalgia), The Shins, Ryan Adams (who basically just made fun of The Shins the whole time), and Phoenix.
That said, we’re a little bit nuts for Fruit Bats over here, and we were front row rail for the entire set, taking enough videos to make our phones complain that we were running out of storage. Our obsessive fandom was rewarded later on during The Shins’ set, when Fruit Bats frontman Eric D. Johnson (former member of The Shins) jumped in with them on tambourine.
Despite personal favorites, it has to be acknowledged that Phoenix was genuinely, indisputably incredible. Their hour-and-a-half set was masterful, complete with the coolest backdrop we’ve ever seen—a slanted mirror aerially reflecting the stage below, with the floor projecting trippy visual effects. The entire surrounding crowd was near hysteria throughout the entire show up until their encore which included—obviously—2009’s smash hit “1901.”
Final Thoughts
We’ve talked about this before, but we are all about the sustainability factor of refillable water stations in lieu of plastic bottles, and Shaky Knees was one of the first festivals we ever saw implement this system. We’ve been seeing this more and more on the festival circuit, and we’re so glad that it’s becoming a best practice. Shoutout to Shaky for being proactive here.
Also want to note that Centennial Olympic Park is a great location. When they hosted the festival at Central Park in 2015, we thought it was perfect and wondered if it could get any better. Plenty of shade, stages far enough apart that their sound didn’t step on each other…it seemed like the ideal spot to plant this festival, and when we heard about the move in 2016, we were skeptical. It turns out our doubts were unfounded. Yes, Centennial is a smaller park, but this didn’t, as we worried, result in overcrowding. There were less stages than before, but this mainly resulted in easier transition from stage to stage without feeling like you had to leave a set 10 minutes after arriving in order to be on time for the next. In short, this festival is excellently planned, and runs like clockwork. We’re believers.
Since its inception, Shaky Knees’ consistently stellar lineup has made it stand out, and it remains one of our all-time favorite festivals, from soup to nuts. The bottom line is, the lineup is always unbeatable and, more importantly, uncompromising. Keep it up, guys, and we’ll keep insisting that this is the festival that should not be missed.
Review: Hoops – ‘Routines’
As we approach the summer months, easy listening is back and prepping us for spending our days lounging by the water (or on our rooftops). Whether you’re at Santa Monica Beach or drenched in sweat gazing at an awesome city skyline, Hoops should be on your summer playlist.
Just one year after the release of their self-titled EP, the band has reemerged from the depths of dream pop with their debut record. The warm embrace of lead single “Rules” made Routines one of the most anticipated indie releases of 2017, and the band did not disappoint. The record defines Hoops’ sound and solidifies them as a force to be reckoned with.
A close cousin of fellow pop artists Best Coast and Cults, Routines is a sun-soaked, lo-fi treat that is set to make a mark on its genre, tapping into that toes-in-the-sand summer feel that seems to exist in a subgenre on its own. While beachy vibes are not exactly what you’d expect from four guys who’ve spent their lives in Indiana, they make it work.
The record is charmingly minimalistic without being repetitive. This might be a product of the band’s unorthodox songwriting methods; rather than having a designated lead singer, whoever wrote the song will provide vocals for the track. Couple that with a signature reverb-laden guitar and mellow, fuzzy vocals, and you’ve got yourself the perfect sunny day soundtrack.
The album opens with the appropriately titled “Sun’s Out,” a synth-y, bubbly track that sets the tone for the rest of the record. Another thing you’ll find is that Hoops are keen on major chords; their happy-go-luck attitudes shine in their music. Their optimism is revitalizing in a time where indie bands too frequently harp on the same melancholy themes.
“Benjals” is a short instrumental piece with playful drums and a general feel-good vibe. We can only assume the track derives its name from a “Good Neighbor” sketch in which SNL cast member Kyle Mooney gives a satirical take on men who like sports. The theme of the sketch is much like that of the album – lighthearted and endearing while maintaining an air of truth. “Underwater Theme” is the most melancholic on the record, a chilled-out tune that creeps along at a steady pace without losing its whimsy.
With their delightfully sentimental seaside sound, Hoops are a modern day equivalent of The Beach Boys. Still, there are elements of Routines that could easily be attributed to British new wave bands like The Smiths and The Cure; elements like filtered vocals and seemingly effortless musicianship. Bassist Kevin Krauter once explained to us that the band feels most comfortable making music in his parent’s basement. It’s this authenticity that sets Hoops apart and makes their music as fun to listen to as it must have been to make.
7/10
Haiku Review: Kendrick Lamar, Little Dragon, Splashh
Kendrick Lamar – DAMN.
Intense yet laid back,
Kendrick’s latest masterpiece
is finally here.
Little Dragon – Season High
Cryptic, hypnotic,
Layered hooks and melodies,
Dreamy, strong vocals
Splashh – Waiting a Lifetime
Dreamy alt-pop vibes,
Sunny and summery feel,
Fun and upbeat songs.
Review: Blaenavon – ‘That’s Your Lot’
Today is a good day, because 1) it’s the weekend—TGIf, folks—and 2) Hampshire, England-based Blaenavon is dropping their debut album. That’s Your Lot, via Transgressive and Canvasback, is produced by Jim Abbiss (Arctic Monkeys, Adele) and is five years in the making.
Blaenavon released a few EPs after their very first single “Into The Night” hit ears all the way back in 2013. Since then, fanbase and anticipation for the trio’s debut LP have been steadily growing.
“That’s Your Lot is five years of our lives condensed into 59 minutes of yours,” said singer/guitarist Ben Gregory in a press release about the album. “Youth, capriciousness, duality, duplicity, love, bitterness, fate. Songs from the human core: some malleable, long considered—others pure, direct, cruelly honest. An album to bathe in and appreciate the inevitable end.”
The Tracks
“Take Care” serves as an upbeat introduction to the band if you haven’t met their sound before. They’ve performed it live a lot, and if the energy in the recording is any indication, the live version must be a party.
“Let’s Pray” takes you on a heavy lyrical journey. While the words may be somber, the refreshing honesty and energetic sounds come together in a balance of emotions. After belting out a few rounds of the words “let’s pray for death,” the band draws you into a chorus of “ooh’s” that will have you singing along in no time.
“Orthodox Man” may be the third track on That’s Your Lot, but it’s Number One in our hearts and hotbed of catchy melodies. Get ready for a groove of a bass line, because its presence is felt throughout the whole song. The repetitive lyrics in the chorus add to the catchy factor—it’s no wonder the band released it as a single. It definitely got us all pumped for the rest of the album.
From one headbanger to another, we move into “My Bark Is Your Bite.“ The guitar riff from the kickoff sticks with you and makes this song another contender for catchiest track. Conceptually, it’s also a winner. Gregory sings of lying because his “mind says it’s the best thing to do.”
In “Lonely Side,” the vocals hit immediately, and “in a land of parasites” is one of the first lyrical phrases you hear. Heavy. The chord progression reflects the mood with its minor emphasis, and though it starts out somber, it brightens up with the addition of vocals and synth.
It’s clear from the first few seconds of “Let Me See What Happens Next” that it’s going to pull on your heartstrings. Gregory’s vocals and a piano: that’s all you get, but that’s all you need. Simple chord progression, piano arrangement, vocal lines and harmonies—it works. In the midst of fully produced, guitar-heavy, percussive tracks, it’s nice to have a piano ballad to mix it up and provide a point of rest.
I’m a sucker for any song with a person’s name in it, so when I saw “Alice Come Home” on the list, I immediately began romanticizing. It builds slowly and launches after the first minute or so. Gregory switches his vocal style from airy to belting and back again to provide a rollercoaster of a song that’s dynamic and fun to follow.
“Ode to Joe” can only be described as “eerie,” a tone accomplished with a piano and what I’m picturing as a damp, dark echo chamber.
“I Will Be The World” has punctuating vocals that match the precision of the drums. The track escalates, forming one of the heavier rock song of the album and proving the trio’s range.
“Prague ‘99” suggests a trip around the world as well as back in time, and the song takes you on a high-energy run and into a room of groove. From the top, an intricate guitar riff is introduced, and then driving rhythms from the drums and more guitars are added to fill the landscape.
“Swans” is a lullaby with a dark side. It makes use of the eight minutes with a slow but steady build up to hard-hitting percussion and layered guitars.
Closing out, the title track, “That’s Your Lot,” rests at the very end. The band carries their less-than-sunny outlook to this melodic farewell, musing “I’m part cloth and part man.”
Haiku Review: Father John Misty, The New Pornographers, Cold War Kids
Father John Misty – Pure Comedy
Classic vibes and sounds,
Acoustic with upbeat tunes,
Rare yet familiar.
The New Pornographers – Whiteout Conditions
Alluring lyrics,
Catchy melodies and sounds,
Poppy and fun beats.
Cold War Kids – LA DIVINE
Dark motifs and feel
Contrasted with hopeful sound,
Indie pop goldmine.
Review: Tei Shi – ‘Crawl Space’
As improvements in technology have expanded musical possibilities and resulted in a surge of experimental music, it can be difficult for an artist to differentiate themselves in such an extensive landscape. For Grimes-approved new wave pop artist Tei Shi–real name Valerie Teicher–this isn’t an issue.
Born in Argentina, the 26-year-old singer-songwriter and producer makes music that isn’t confined to one genre but is still instantaneously recognizable as her own. Her first EP Saudade was the first taste we got of Tei Shi, also marking her first collaboration with producer Luca. It was their collaboration on a cover of Beyoncé’s “No Angel” that put them on the map; a unique take on an already acclaimed track was the boost Tei Shi needed. Now, she’s back with a full-length album comprised of a fusion of synths, evocative vocal loops, and a tinge of childlike whimsy.
As expected, Crawl Space a reflection of her eccentric musicality, but it also serves as a window into her own life experiences. The album opens with a clip of what appears to be a young Tei Shi speaking Spanglish as she learns how to record vocals via a cassette player, an homage to her Argentine roots and an allusion to the inspiration behind the album name; when she was younger, Tei Shi overcame her fear of the dark by entering a crawl space. Interludes featuring her younger self are interspersed throughout the record, chronicling her growth from fresh-faced newcomer to musical veteran.
“Keep Running,” the lead single from the record, is both catchy and otherworldly. The music video features a silk-clad Tei Shi performing karaoke at a neon house party, exploring the different rooms while seemingly invisible to other partygoers. Heavy drum hits bring a larger-than-life character to the song as Tei Shi croons a vocally demanding chorus.
The album’s other single, “How Far,” is mellower. Haunting vocals surf over Eagles-esque electric guitar, bringing the listener into Tei Shi’s world. “Justify,” a track in which Tei Shi is almost exclusively whispering over an electronic beat, is reminiscent of FKA Twigs. “Say You Do” belongs more in the pop world, baring a likeness to fellow alt-pop artists Sky Ferreira and Charli XCX. Crawl Space takes a welcome turn with “Como Si,” a slow, sultry track that Tei Shi sings entirely in Spanish.
While the variety of elements on this record are undoubtedly unique to Tei Shi, it’s her own personal style and stage presence that set her apart from other experimental artists. She describes her music as fitting into the “mermaid genre,” and we can’t help but agree. Her work is playful yet unforgettably eerie. Its light and spirit mask its uncanny nature.
Crawl Space is an embodiment of Tei Shi’s artistry; it’s the refreshingly introspective body of work that you need in your life. After you become as obsessed with this record as we are, you can catch Tei Shi on tour with Danish artist MØ this year.
8/10