Yard is the second full-length album and latest release from the Chicago-based indie-rock band, Slow Pulp. Childhood friends Alex Leeds (bass/vocals), Teddy Mathews (drums), and Henry Stoehr (guitar) formed the band in 2015, but Emily Massey (vocals/guitar) would prove to be the final piece in the puzzle.
Yard was highly anticipated due to the positivity that their 2020 album Moveys received from both critics and listeners. To satisfy our appetites, the band released four singles Broadview, Doubt, Slugs and Cramps, each showcasing the diverse musical range that this band can attain. I have been patiently waiting for this album since hearing its release date and I must admit, it was worth it. The album showcases Slow Pulp’s artistic zenith and makes clear the careful planning and finesse that went into each of the ten tracks.
Yard begins with our first track, Gone 2, a sluggish cadence that showcases Slow Pulp’s signature daydreamy effect. Massey returns in her laid-back fashion, embodying her sliding vocals that seem effortless, accompanied by a steady beat and earthy acoustic guitar. The song tackles themes of self-doubt, worry, isolation and indecisiveness, which would ultimately become the overarching themes of the entire album, making Gone 2 the perfect opening.
On this album, the band experiments with the grunge genre through distorted chords, and persistent drum rhythms throughout multiple tracks. Doubt permeates an angsty nostalgia and would be the perfect opening track for a coming-of-age 90’s movie with a cast of colourful outcasts. “Take me out, put me down, I just want your do-do-do-do doubt” Massey sings with a pang of desperation that skilfully contrasts her nonchalance aura. The following track Cramps kicks off with a rapid drum fill before a fuzzy and distorted shoegaze effect dominates the track. While the wild and explosive instrumentals drive the song, the lyrics are embedded with a sense of melancholy as Massey confesses, “I’ll take anything, that you wanna give, but I want everything”, she sings with a voice that could easily be mistaken as an electric guitar as she effortlessly blends with the instrumentals.
The group continues concocting this experimental sound with the song Worm, with crashing cymbals and flaring electrics paired with Massey’s frizzled vocals singing “I’ve got a worm, inside my head”. While the song is lyrically simplistic, it seems that this track is intended to showcase the instrumental skills. Unfortunately, this track lacks substance and impact when compared to these other tracks, but the band returns back to their steady and hazy style, producing some of their best tracks to date.
The self-titled track, Yard, is a raw and intimate track featuring achy vocals and a steady rhythmic piano tackling themes of self-pity and self-hatred. It is a beautifully simplistic and unfiltered moment from the group, particularly Massey as she proclaims, “I’ve been a bitch, I don’t wanna be, I’m selfish” unveiling her vulnerabilities ever so delicately. The song deals with heavy subjects like anxiety and doubt, which are common feelings that arise during an artist’s brutal introspection.
We then transition into Carina Phone 1000, which is led by a warm and bright acoustic guitar accompanied by a vibrating steely violin, making the track come alive. I found this to be the most emotional track on this record, as the symphony of strings blended with enchanting and dreamlike vocals created a shiver throughout my body. A defeated Massey finishes with the lyrics “That’s life I guess” with her tired and velvety vocals, somehow enriching this ethereal aura of the track.
The eighth track on the album MUD, is a perfect mix of experimental genre fusion and familiarity. The track alternates between meditative, thoughtful verses and a more upbeat chorus before fusing into a satisfying fuzzy outro, now a staple of Slow Pulp. It’s essentially a song about emotional unfulfillment, “I can tell there’s someone else, Come on tell me I can take it well, It’s just too bad I fell”. We hear Massey become stuck herself as she repeats “I’m stuck in it again” before breaking into a repeat of the chorus, raising the question of it being a fulfilling release or just a repeat of patterns.
Broadview has become a personal favourite of mine from this album and Slow Pulp as a whole. The track includes a peddled slide guitar along with strummed acoustics. It emanates more of a country twang through the use of a plucked banjo, a wavering harmonica and a twinkling piano. This instrumental assemble evokes an earthy and grounded atmosphere, pairing beautifully with the angelic vocals of Massey.
Finally, the album finishes with Fishes, a powerful ending as Massey sings “Maybe I kinda like myself, But only when I’m alone, take the sugar out the water, it’s the sweetest on its own”. It depicts the lonely fear of falling in love again in a tender, introspective pace change. It is these features that show that Slow Pulp has also discovered that sweetness, producing their finest work so far.
As they create their recognizable sound, Yard once again bares the soul of Slow Pulp. The band captures interest with their dark passion and eerie soundscapes, whilst maintaining their folk-country twang. The band has successfully navigated this second record, so the question now is: where will they go from here? It will be interesting to see what emotions and topics will be discussed in the future and if they will continue further with their genre experimentation.
You can listen to Yard on all streaming platforms right now.
