| ⭐⭐ |
For the last couple of years now, Wednesday have been at the forefront of a genuine indie rock resurgence. Dignifying their harsher shoegaze tendencies with plenty of folk and alt-country seasoning, it’s been clear for a minute now that this young band has a future etched out into the modern indie music landscape. With that potential comes a wealth of expectation. Their desire to emulate some of the more acclaimed records of the slack 90’s catalogue (Pavement, Silver Jews, Dinosaur Jr.) is a double-edged sword; the nostalgia cash-in that draws attention, and the gigantic shoes to fill. The latter of which might be seen as far less appealing to many a young band, who might have a successful album coasting on the high of presenting as vintage. It’s not always a successful long-term strategy for business, and I fear that Wednesday might be starting to learn this the hard way.
What makes a lot of music in this style so enjoyable in the first place is its ability to balance malaise and musicality. The playing on a Silver Jews album is totally dynamic, the lyricism endlessly witty, the instrumental palettes varied with colour. It’s three dimensional music. Likewise, Pavement were in a world totally of their own making. What made them enjoyable back then may not necessarily be what makes them enjoyable now. The guitar tones were one of a kind, tightly-wound; like things were going to fall into chaos at any moment. It was unique, and anyone trying to capture that singular moment in time is chasing a dragon they’ll never catch. In the case of ‘Bleeds’, the band actually succeeds when they stop the chase.
These moments of success are few and far between though. For example, ‘Elderberry Wine’’s mellow guitar lines and chorus melody are more-than-sufficient, it sees the band meld their somewhat noisy Americana to good effect. The same can be said for its predecessor ‘Wound Up Here (By Holdin On). This one a tad more unkempt, but still showcasing a ton of heart on the lyrical and melodic front. It’s these little nuggets of gold that make me feel like this band is so close to figuring it out. That it’s not so much about how easily you can pull influences and genres out at the drop of a hat, but how you reimagine them as your own that gives you the real magic. Take ‘Wasp’ from later on the record, and imagine the band taking this big of a leap on a future album. Not just for a track or two, but for song after song. It is genuinely blistering, and shows a side of frontwoman Karly Hartzman that is truly refreshing. If only the rest of the project could be the double espresso shot that this cut is.
I don’t think I’ll bore you with finer details on my gripes with the rest of ‘Bleeds’. It runs paper thin on ideas by its conclusion. We’re treated to a gothy ballad that seems to last an eternity, and a hokey country ditty that genuinely made me laugh out loud when it began. Not because of any sort of sharp sense of humour displayed, but more so the fact that it seems to be inadvertently taking the piss out of part of the band’s shtick. That and it’s completely tacked on. A loose end rather than a finished knot. It’s fitting though, in the sense that it features the same blasé lack of effort and personality that the majority of this album is so blessed with.
Dan Will Review 