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Sun November 29, 2020

Beach Fossils + Wild Nothing

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Beach Fossils

The long-awaited return of Brooklyn's Beach Fossils, Somersault showcases a band in bloom. Charting into new musical territory with a refined songwriting style, it's an album that captures flashes of life in New York grounded in personal experience.

The band's self-titled 2010 debut established a sound that was both minimal and enveloping. With Somersault, the group's first release since 2013's Clash the Truth, Beach Fossils have channeled years of experimentation into expansion and reinvention. Augmented with more complex instrumentation, including string arrangements, piano, harpsichord, flute, and sax, the new songs offer multi-layered pop guided by sharp, poignant, and honest lyrics.

As the band's first release on Dustin Payseur's new label Bayonet Records, which he co-owns with wife Kate Garcia--the group made the most of their newfound independence, investing ample time in expanding its range both musically and lyrically. While Payseur handled the bulk of the songwriting duties in the past, Somersault is a true collaboration between the founding member and bandmates, Jack Doyle Smith and Tommy Davidson. The new songs speak to a more fluid, eclectic sound, filled with lush compositions formed by studio experiments and sam-pling of the band's own recordings.

Orchestral pop gem "Saint Ivy" shines with plucked strings, buoyant basslines and a propulsive, wayward, guitar. "Tangerine," a driving, tightly wound melody, rushes forward and briefly leaves the ground due to the gossamer guest vocals of Slowdive's Rachel Goswell. The effervescent "Rise," which hinges on the spoken word of Gavin Mays (Cities Aviv) discussing a failed rela-tionship, hangs, like many recent breakups, in a sense of suspension. The cloudy, wistful "Soci-al Jetlag," bustling with samples of crowded streets, features the type of candid, off-the-cuff lyr-ics that make the entire effort immediately illuminating.
Beach Fossils

The long-awaited return of Brooklyn's Beach Fossils, Somersault showcases a band in bloom. Charting into new musical territory with a refined songwriting style, it's an album that captures flashes of life in New York grounded in personal experience.

The band's self-titled 2010 debut established a sound that was both minimal and enveloping. With Somersault, the group's first release since 2013's Clash the Truth, Beach Fossils have channeled years of experimentation into expansion and reinvention. Augmented with more complex instrumentation, including string arrangements, piano, harpsichord, flute, and sax, the new songs offer multi-layered pop guided by sharp, poignant, and honest lyrics.

As the band's first release on Dustin Payseur's new label Bayonet Records, which he co-owns with wife Kate Garcia--the group made the most of their newfound independence, investing ample time in expanding its range both musically and lyrically. While Payseur handled the bulk of the songwriting duties in the past, Somersault is a true collaboration between the founding member and bandmates, Jack Doyle Smith and Tommy Davidson. The new songs speak to a more fluid, eclectic sound, filled with lush compositions formed by studio experiments and sam-pling of the band's own recordings.

Orchestral pop gem "Saint Ivy" shines with plucked strings, buoyant basslines and a propulsive, wayward, guitar. "Tangerine," a driving, tightly wound melody, rushes forward and briefly leaves the ground due to the gossamer guest vocals of Slowdive's Rachel Goswell. The effervescent "Rise," which hinges on the spoken word of Gavin Mays (Cities Aviv) discussing a failed rela-tionship, hangs, like many recent breakups, in a sense of suspension. The cloudy, wistful "Soci-al Jetlag," bustling with samples of crowded streets, features the type of candid, off-the-cuff lyr-ics that make the entire effort immediately illuminating.
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859 O'Farrell Street, San Francisco, CA 94109

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