Folk punk isn’t usually my thing. I don’t hate it or anything, there’s just something about it, a vulnerability in how stripped-down it can be. An emotional rawness that just makes me feel kind of uncomfortable. Like someone just handed me a bunch of their emotions and I’m there awkwardly standing there asking myself what the hell I’m supposed to do with them. Laura Jane Grace is a different story altogether. I love listening to her (my crush on her might have something to do with that).
The first track on the EP is Three Of Hearts. Her voice, accompanied by an acoustic guitar, sounds warm, vulnerable, but mostly very sweet. Like asking someone to take a chance on you, but with the classic LJG self-deprecating twist we all know and love.
The first track on the EP is Three Of Hearts. Her voice, accompanied by an acoustic guitar, sounds warm, vulnerable, but mostly very sweet. Like asking someone to take a chance on you, but with the classic LJG self-deprecating twist we all know and love.
The second track, Lolo 13, is so dreamy! It’s more upbeat and the drums really round out the sound of the song. The backing vocals play a big part in the aforementioned dreamy-ness. I love how Laura uses words that don’t really rhyme without it bothering you. The lyrics are fairly repetitive, which makes me think they could do very well when performed live, since they’re easy to pick up. And not only that, I’m having a hard time sitting still while I’m writing this. I’m not surprised at all that, as I’m writing this, this is the most popular song of the EP on Spotify. Laura Jane Grace is ever so relatable when she sings about not being sure someone is flirting with her.
Long Dark Night is GROOVY! I’m loving the bassline, I’d call it my favourite character of this song. It’s a great song for road trips. It gives off a “we got a long way to go, but if we keep going, slow and steady, we’ll get there”-vibe mixed with “it will only go downhill from here”. Only Laura Jane Grace can tell me to “shut the fuck up and sit back down” and be endearing while doing it.
We reach the half-way point with Electro-Static Sweep, the longest track on the EP. The song introduces a string section, which I’m guessing is a violin, and takes a step back pace-wise. The tempo and newly added layers amplify the melancholy and nostalgia, especially when listening to the vocal effect during the beginning of the first verse that makes it feel antiquated, very compelling.
Laura Jane Grace believes that the next song, Day Old Coffee, is “the worst one she’s ever written” but released it anyway because she liked the video they made. I’m not in the position to say whether or not that is true, but I think it’s short (seriously, 1:13 long) but sweet! Or maybe I just strongly relate to my brain feeling fried and literally always forgetting I have a cup of tea standing around that has reached room temperature by the time I remember. Not a bad intermezzo at all.
Smug Fuckface is another very disarming acoustic track that I think has the strongest relation with the title of the album. Fleeting memories and fighting/negotiating that loss. Like silverfish ruining records and books.
Long Dark Night is GROOVY! I’m loving the bassline, I’d call it my favourite character of this song. It’s a great song for road trips. It gives off a “we got a long way to go, but if we keep going, slow and steady, we’ll get there”-vibe mixed with “it will only go downhill from here”. Only Laura Jane Grace can tell me to “shut the fuck up and sit back down” and be endearing while doing it.
We reach the half-way point with Electro-Static Sweep, the longest track on the EP. The song introduces a string section, which I’m guessing is a violin, and takes a step back pace-wise. The tempo and newly added layers amplify the melancholy and nostalgia, especially when listening to the vocal effect during the beginning of the first verse that makes it feel antiquated, very compelling.
Laura Jane Grace believes that the next song, Day Old Coffee, is “the worst one she’s ever written” but released it anyway because she liked the video they made. I’m not in the position to say whether or not that is true, but I think it’s short (seriously, 1:13 long) but sweet! Or maybe I just strongly relate to my brain feeling fried and literally always forgetting I have a cup of tea standing around that has reached room temperature by the time I remember. Not a bad intermezzo at all.
Smug Fuckface is another very disarming acoustic track that I think has the strongest relation with the title of the album. Fleeting memories and fighting/negotiating that loss. Like silverfish ruining records and books.
Up until the start of the last song, I was convinced the EP was building up to Electro-Static Sweep, and peeling those added layers away as the album progressed. Yesterday Pt. II proves me wrong, and I appreciate that. It’s hard to label the emotion the song carries. It sounds almost cheerful and the lyrics are reminiscing. But I’m not sure if it’s a “don’t be sad because it’s over, smile because it happened” sort of thing, or that there is an agony in the recollection of meaningful memories. Let’s just say it’s an interesting song.
At this point, I’ve listened to At War With The Silverfish many, many times – in part because it’s only 14:14 long and I take my time writing these reviews. But I had a really good time listening to it. There is variety, but it’s also cohesive. It is personal and specific, but relatable. If you haven’t already, do yourself a favour and give it a (digital) spin!
Listen/buy At War With The Silverfish on Bandcamp.
Follow Laura Jane Grace on Instagram, Twitter, or Facebook.
This review was written by Ilse R. Smit.
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