Toronto-based indie-rock outfit, Alvvays, has returned with a new batch of tunes after what has arguably been the most turbulent five years that the band have encountered yet. Despite facing floods, the loss of their demo tapes, and a pandemic that collectively hindered the recording of their newest project, Blue Rev, Alvvays have seemingly overcome everything thrown at them, coming out with an outstanding collection of songs that I can already imagine fans are reciting back-to-front in preparation for their future gigs.
Named after the Canadian alcohol that lead-singer Molly Rankin drank as a teenager, Blue Rev masterfully blends multiple sounds while confidently wearing its rich ‘80s and ‘90s inspirations on its sleeve. To pigeonhole this album into simply one genre would be as impossible as it would be an offence to Alvvays’s remarkable genre-bending prowess. Here, it really feels like the band has discovered their own personal blend of dreamy indie-shoegaze and taken the time to perfect their craft, dipping their toes into as many styles and sounds as possible, showing great maturity in both their song writing and instrumentation in almost all of the album’s 14 tracks.
Kicking off with ‘Pharmacist’, Alvvays shows off what makes them a force to be reckoned with as they pack crunchy guitar layers from guitarist Alec O’Hanley, booming bass accompaniment from Abbey Blackwell, luscious retro synths from Kerri MacLellan, punchy drums from Sheridan Riley, and vulnerable vocals from Rankin that form the perfect opener and introduction to what the album has in store. ‘Easy On Your Own’ greater reinforces these sounds and includes a catchy ear-worm vocal melody and detailed instrumental that boasts a noteworthy key-change passage that Rankin is able to complement flawlessly before reaching her triumphant chorus, repeating the desperate line “Does it get easier on your own?”.
‘After The Earthquake’ can only be described as a sucker-punch of raw energy. Fuzzy layered guitars, thick synths, and heavy drums effortlessly compliment Rankin’s vibrant vocals – creating a warm and euphoric atmosphere that makes this track a major standout on the record. With a lively and fast-paced beat that sounds like something you’d expect from The Smiths, these sounds are later contrasted with an unexpected bridge that slows down the pace of the song, steadily building towards a formidable burst of sound with its infectious chorus. Alvvays’ masterful ability to build and structure a cohesive, detailed track isn’t only highlighted here, as the band’s musical skill bleeds throughout Blue Rev’s almost 40-minute run-time.
Every sudden modulation or outburst from Rankin, flip in dynamics, and change in rhythm bring numerous layers of detail to the majority of the album’s tracks, whether it be the various guitar inflections in ‘Pressed’ or carefully layered synths hidden in ‘Velveteen’ – there’s a myriad of elements that will make the album feel brand new with almost every listen. These details and passages rarely feel haphazardly thrown in, but rather meticulously curated and organised within the context of every track, never falling into the trap of sounding like a chaotic mess.
The slower synth led ballad ‘Tile By Tile’ is a melancholy letter of regret and mistaken love, and accounts for a serious breath of fresh air with it being one of the most touching songs on the record. Gloomy chords are complimented perfectly by Rankin’s soft, desolate vocals as violas and guitars harmonise after her heart-breaking cry “I shouldn’t have ever been calling it love”. The production and mixing in particular is seriously impressive here, with Ranken’s vocals sounding like they’ve deliberately been over-manipulated to achieve a crisp vintage effect. ‘Bored in Bristol‘ and ‘Lottery Noises‘ share similar feelings of heart-wrenching sadness, and while not as impactful as some of the album’s earlier tracks, also make for interesting listens.
Finally, the album ends with ‘Fourth Figure‘, showcasing Rankin’s formidable vocal capabilities where she puts everything on the table for this toned-down closer. Here, Alvvays creates a passible conclusion to the record, as Rankin’s last reverberated vocals echo-off with the instrumental soon fading away, leaving us with a satisfying ending to the very linear experience. I’m glad to say that Alvvays delivers for the majority of the time on Blue Rev, and, as expected, after such a lengthy gap in time since their release of 2017’s Antisocialities, their sound has evolved and developed significantly. While not every track is perfect, Blue Rev is still an album I’d recommend to anyone into indie-rock or shoegaze, and stands out amongst anything else I’ve heard this year. I’m excited to see what Alvvays could potentially bring us in the future, and I can only hope that they continue to try new things and experiment with exciting sounds as this is where I feel the band truly thrives.
Rating: 8/10