In the first song on his self-titled debut album, Wet Leg felt uninspired, beaten, zoned out, equating everything with the same strangely desirable state of “Being in Love.” Three years later, the five-piece of Light Island, where Rhian Teasdale and Hester Chambers were at the helm – opens the sophomore album by Revaluing. It’s urgent. It sounds like you’re greedy, maniacal, stupid, melodramatic, and explain all adjectives Moisturizer Despite the wet legs maintaining deadpan humor and quirky aesthetic. But the record, produced again by Dan Carrey, softens and absorbs its joy and contradiction, so that it looks fantastic even if a calm reality begins. Moisturizer. Apply gently; it may be good for you.
1. CPR
I’m hoping for serpentine riffs, thick bass and driving drums, but that swarmatron synth (instructor producer Dan Carrey uses enough to make him land Wikipedia Page So) do you want to blow up the entire chorus like a siren? It’s a rather bold signal that you’ve noticed your wet legs are in unexpected territory. Rhian Teasdale declares that she is in deep love later in the album, but in this early stage she is obsessed with and accused of “I’m in love/You’ll be responsible”. She explains that she is lost in someone’s eyes tendencyshe is not shy about the strength of the situation, obscuring it to suicide that it loves. The ride has just begun.
2. Liquidation
Uncertainty creeps up between the shadows MoisturizerThere are two confident singles, and the band leaning against the pop of dreams and wondering if you deserve the love that is being directed towards you. Teasdale is just as convincing in this melancholy mode, cutting out despite the stupidity of phrases like “marshmallow worm.” (free.)
3. Catch these fists
It still maintains as an excellent first single, recapturing the wetleg’s earliest outgoing magic, but that’s an album’s sound outlier. They respond to the battle in a way that directly contrasts with “Liquize,” and they line up refrains with “Lovestruck/Me Down” with “Man Down/Level Up.” Sometimes, old movements are everything you need to pick up yourself.
4. Dabina McCall
If “liquefaction” is not sufficient, you can immediately determine Moisturizer “Davina McCall” is offered as an imitation of her predecessor, and the singer relaxes in the euphoria of a good relationship. Love works in references: “Sip Libena/Sucking Fuck like Coca-Cola.” When Shakira’s “anytime, anywhere” comes, you can relate without making a fuss and just lie down and smile. It’s what the thinnest wet legs were heard, and although it’s no longer allergic to the nature of saccharin, Teasdale completes the melody when singing “You’re like the sun”, which all means the same thing. Like an extension of that mood, the song becomes a bit lazy at the end, but I know there’s another switch up.
5. Jennifer’s body
Dig deep into the wormhole and the band punches up their dream of “liquidizing” for something that is almost similar to a shoe gauge track. The wet legs don’t sound like a trend chaser, but the arrangement feels strangely flat. Needless to say, “Can I see you falling in love with?”). It’s appropriately hypnotism – the interaction between Teasdale and the chamber is particularly appealing – but you would want it to stretch itself for a greater impact.
6. Manget Out
The group shrugs and strums the top shape. “I gave you magic beans,” sings Teasdale, nailing the pronunciation of the title before clarifying the double entender: “Get lost forever!” It’s full of chewing statements that go under the skin, even if Google needs it to get. I save the search to you: RNLI is a Royal National Lifeboat Institution. This type of man does not have a blessing of salvation.
7. Pokemon
“I don’t want it to be slow,” Teasdale asserts, and the song, although not slow at pace, does an elegant longing for escape — adorned with heavenly synths and everything — something mellow.
8. Pond Song
It’s well-balanced than “cpr”, not more uneasy than “liquefaction”, but more catchy than “Jennifer’s Body”, and “Pond Song” strikes us with another reference that doesn’t appear in “Dabinna McCall”. But first, we get a story set up. “I was a small town girl/Trina makes it bigger.” No more beloved. Like The sun, and the girl from this little town? Well, she’s a flower. It’s all going well until the story creeps up. It’s hard for a girl to make it bigger and make a promise.
9. Pillow talk
“Even if you’re sour, it’s very sweet,” Teasdale sang romantically in the previous song. Carrie is leaning towards the mildest trend as a producer, but the rhythm section of Ellis Durand and Henry Holmes opens the song. “Sleep/Dream/Fuck/Feel” Are you talking about Shakespeare or pillows? Love or suicide? Is that the group I heard?
10. Please don’t talk
Chambers gets lead vocals and Mobaraki’s sweet guitar solo, softening with Wet Leg’s “Don’t Speak,” a better attempt on Shoegazey track. there is no Bride Princess See this. Just “You’re the lock of my role.” There is darkness hidden in the vulnerability, but she asks her lover to “bear the bad things.” Overall, Moisturizer It makes it possible.
11. 11:21
Wet legs The cut was slow, but there were no ballads like ’11:21′. The band has cynical timestamps on songs about the times they feel “just like about you since they first met.” This is a feeling that persists even as the metaphor begins to fall apart. The Mobaraki keys and rooms at the Tin Whistle help to evoke a nocturnal atmosphere. Teasdale offers her most seductive performances, stretching out the words “met” and “tonight.”
12. U and I are at home
There is no national anthem that I would be happy to compose about the sweet relief of going home with my loved one. MoisturizerOn that front, close by, scans as a joint sigh from bands who have been touring non-stop for the past few years, but somehow finds time to write a full album of songs that seem to be detached from life, up to “u and me at home.” Again, although it’s not much of a story here, the plot is thicker. “Maybe we can start a band/just a bit,” Teasdale recalls as she actually does some. Interview. “Now we’re stretching all over the world / on land and on sea / and there’s this big, resilient band that brings you back to me.” Metaword play is wet-legged bread and butter, but you wouldn’t think it’s moving very much.
Source: Our Culture – ourculturemag.com
