Free Cake for Every Creature, The Love Language, and Trophy Eyes
Who is ready for some new music? The folks over at NPR said they were taking some time off because the next couple weeks are slow for new releases. While the volume was down a little, that doesn’t mean there weren’t quality finds this week. In addition to Free Cake for Every Creature, The Love Language, and Trophy Eyes, honorable mentions go out to Givers, The Black Delta Movement, and Nostrum Grocers. Let’s dive in!
Free Cake for Every Creature: The Bluest Star
Katie Bennett released The Bluest Star, her fifth album under the project name Free Cake for Every Creature. I’m not sure how I feel about this trend, but more on that later because that shouldn’t detract from a fine indie-pop album. Bennett’s ASMR-like vocals remind me of Kimya Dawson from The Moldy Peaches. The Bluest Star features succinct, guitar-driven ditties. They’re the types of songs that sneak up on your subconscious. After a few moments into the track, you realize you’re nodding your head or tapping your feet. Give the album a listen and try to convince me it’s not infectious.
The Love Language: Baby Grand
Hailing from Raleigh, North Carolina, The Love Language shows on Baby Grand that something positive can come from a breakup. If we can agree that Free Cake for Every Creature’s The Bluest Star is infectious, The Love Language’s Baby Grand is an epidemic. There’s so much garage band raw energy fuelling each heart-on-your-sleeve track. It’s not until tracks like Juiceboxx when LL slips into a different gear – a 70s funky bass groove complete with disco strings and a sax solo. They slow things down for a few tracks after that. Consider the middle section the climb on the emotional roller coaster.
Trophy Eyes: The American Dream
The American Dream is Trophy Eyes‘ third full-length album release. I’m assuming the band enjoys irony considering they’re from Australia. The album is listed as rock, while the band is labelled a punk rock group. This is a new band for me, so perhaps their earlier material is more punk-infused. The comparisons that come to my mind are equal parts Fallout Boy, American Hi-Fi, AM Taxi, and Anberlin. The more punk moments shine through on tracks like More Like You where lead sing John Floreani’s scream vocals serve as counterpoint to the group anthem-like vocals. The album utilizes different dynamics and sometimes that works in their favor. Sometimes not. Going from A Cotton Candy Sky‘s stark piano into the chunking guitar anthem like You Can Count On Me is a bit jarring.