Darlings – Yeah I Know – Album Review
I have said in previous reviews that sprawling, diverse records are the ones that really draw me in. This is true, but if you know me you are aware that I love to make absolute, blanket statements and contradict them often, citing that X is the exception to my rule when, in reality, there are more exceptions that there are actual rules. The new record by NYC’s Darlings is today’s exception, having mystified me with its straightforward style of mildly guised garage pop. The styles and influences here are glaringly easy to spot, and the record is not difficult to digest. There is garage, punk, lo-fi, a bit of shoegaze, hints of pop, and the whole thing is slathered in not-so-thin coats of surf rock. All of this has been done before, and in some cases done well, but Yeah I Know shines with its ability to tread this territory for thirty minutes without becoming stale or tired.
Opener “TV” is a short, fun romp through well-worn garage punk lo-fi territory with a definite twinge of surf rock thrown in for good measure. “Eviction Party” progresses with a more fully developed sense of songwriting and a hearty Strokes influence. Starting off clean, the track gets dirty fast and juxtaposes a crisp jangling guitar riff with a delightfully fuzzy hook. In the same vein, “We’re Not Going” brings an even heavier Strokes influence, sliding through chord progressions as though they were on skates. This tune in particular is criminally catchy right up to the moment where blasts out in a furry of guitar.
“Teenage Girl” brings things back to a more basic, fundamental garage rock setup. In context, this could almost pass as the albums ballad and a perfect summer love song, though the explosion of distortion halfway through awesomely defeats that idea. On “Friends Forever,” the quartet shows off their more overtly surf side, channeling Pet Sounds era Beach Boys for a few moments. Boasting “Bah Ba Bah Bah” fills and lyrics like “let’s get fucked up in the park, let’s get fucked up in the dark,” it screams of summer love at the beach. Perhaps the coolest part of the track is the screaming guitar solo that comes out of nowhere and disappears just as quickly as though nothing unusual even happened.
“Gorilla” brings a surprisingly experimental twist to the record, opening with keyboards and changing pace and volume from fast to slow, hard to soft, and every combination in between. Loud spastic explosions are followed by slow, deliberate riffs and vice versa, showing he adventurous side of the band. Following, “Tease” is a short, sweet respite with a repetitious chorus, simple riffs, and not much more to speak of. If there is a filler track on the record, this would be it. From there, however, things take off. The title track “Yeah I Know” is by far the record’s most accomplished track, exploring slightly poppier territory. The sound is cleaner and more complex than on previous tracks, featuring sprawling layers of sound. More melodic vocals and a more traditional song structure round out the progression, culminating in a soaring crescendo of a finish.
As the record winds down, “People Say” provides a slow burning prelude to the finish. Pulling together many of the influences present throughout the record, the track has a contemplative vibe. Void of fluctuations or eruptions of noise, it serves its purpose well in the context of the record to cleanse the aural palate before the closer explodes into your eardrums. Opening with a blast of feedback and a scream, “If This Is Love” is the album’s perfect encore. The riffs are building and the hooks are loud and of the sing-along variety. It is the kind of song you can perfectly imagine being played live at the end of a show, the crowd clapping and stomping in anticipation of the chorus and then screaming in tune with it when it arrives. The only thing missing is the “thank you and goodnight” at the end.
Despite all of my critical commentary, at its core Yeah I Know is not really an album that is meant to be analyzed. The fact that it holds up to analysis is just a bonus that speaks to the talent of the artists. All in all this is just one hell of a fun record, practically begging to be played out as the dog days of summer slip away. The themes are light and play out almost like stories being shared between friends of a solstice gone by, each one clinging to those last memories before it’s back to the grind for another year. As such, the release date comes just in time. The record dropped this past Tuesday on Famous Class Records, so you can go grab it right now and let it take you on a trip back through your own summer before it fades away into the night. And if you aren’t sold yet, we have three, yes THREE tracks for you to check out below that should close the deal.
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