Dear Music Appreciators,
Why is this a great album that you should buy right now? Because this is a half-female half-male band playing alternative rock with pop appeal and punk attitude, and playing it well. Yes, they sound like the nineties sometimes and yes supposedly this is the band’s first album in like ten years and maybe there has been some breakup drama in the past or whatever, but maybe none of that really matters all that much if you think about it. All that stuff is just filler.
On GHOST NOTES you’ll find heavy riffs, Ann Wilson-esque wailing, and in-your-face attitude vs. gentle guitar, hushed vocals, and even some touches of vulnerability, despite the “it’s gonna get loud, it’s gonna get heavy” forewarning on the opening track. “Empty Bottle” displays the band’s full range of powers and dynamics and it’s good to find such a strong song anchoring the middle of the record instead of weighing down the front end. And there are plenty more strong songs to be found on GHOST NOTES, all studded with memorable moments. Notice how the meandering slow intro to “Black and Blonde” morphs into a heavy, room-shaking riff. Notice the triple rhymes and rapid fire wordplay of “Laughing in the Sugar Bowl,” See if you can spot the subtle tribute to Simon and Garfunkel’s “Cecelia” on “The Museum of Broken Relationships,” Try and find a song that isn’t interesting in some way. Maybe you can do it but I couldn’t.
When I was younger I had a roommate from Uruguay, and whenever he encountered an American food he wasn’t familiar with, before trying it he would ask me “is this a sweet or a salt?” If he was here to ask me that question about Veruca Salt’s new album, I would tell him “it’s both.” Yes, my Uruguayan roommate, despite her name, this Veruca is both sweet and salty, and that quality, that contrast between the soft and loud, light and heavy, pretty and pained, is just one of many reasons why GHOST NOTES is such a satisfying listen. Now get me a Snickers bar, beeyotch