As autumn draws in, we seek a soundtrack for darker nights and a sonic narration for a period of reflection on a year that has been turbulent and unprecedented to say the very least.
Chicago-based indie-rock four-piece Slow Pulp provide this in abundance with their debut Moveys. Crafted through lead singer Emily Massey’s own personal health struggles, her parents being involved in a car crash and a worldwide pandemic, it is an album led by emotion, tinged with a sense of self-growth. Througout, we can see directly into the enigmatic and hazy mind of Massey.
Flowing effortlessly between melodious vocals and blistering guitars, between reflecting on past feelings and accepting new eventualities, the majority of the album feels weightless – in a sense that the tracks all fall into their natural place, almost as if they are all tales that have fallen into production tables and song-writing sessions without second thought as opposed to being creatively forced and manoeuvred. Massey’s cascading vocals are a definite focal point, with “Idaho” detailing the mental health struggles that come with accepting love and album opener “New Horse” personified by a beautiful acoustic strum. Instrumental “Whispers (In The Outfield)” has an avant-garde 80s film soundtrack feel to it, creating the perfect interlude, whilst “Falling Apart”, bought to life by Alex G’s collaborator Molly Germer on violins, is serene and captivating. “Channel 2”, featuring bassist Alex Leeds on lead vocals, is the shoegaze-y breaking point.
Slow Pulp have taken their adversities and turned them into something productive on Moveys. Through ripping up old ideas, processing their challenges and starting again, the band have been able to develop into a better band and even strengthen their lifelong friendship in the process. In times like these, it is important to reflect and look forward, and this is something that Slow Pulp have skilfully mastered. A hearty welcome to a band that will charm their way to the top.