High Highs
Cascades, the title of the second record from the Brooklyn group High Highs, could be read in a number of ways. It could be taken as a nod to the group’s hometown—the coastal Australian city of Sydney, which rests against the beautiful, blue Pacific Ocean. Or it could be a nod to the record’s sound, which retains the broad scope of the group’s debut, Open Season, but feels bigger, and grander – sheets of sound, raining down softly. In reality, though, the title is a memory – a moment Jack Milas and Oli Chang remember while driving through the Cascade Mountains on tour. The song it comes from, also called, “Cascades,” is bright and expansive, silver threads of guitar laced through soft layers of synths. It builds softly and steadily, Milas’s voice swooping up to an aching falsetto on the chorus, synths pooling gently beneath him. More than anything else, the song is an indication of how far the group has come in a short period of time – from working together in a recording studio in Australia to opening for Sky Ferreira and Vampire Weekend. Cascades is a portrait of a band in ascent, making music grand enough to carry them along the way.
“The first album was intimate,” Chang says. “We were piecing together ideas in a small space with guitar and voice. With this record, we wanted to make songs that were fuller, that would fill a bigger room.” Milas puts the same sentiment more succinctly: “We wanted to have a bit more fun.” That sense of freedom rings throughout the record. On “How Could You Know,” guitars streak across the background like shooting stars as Milas employs an elegant falsetto to convey longing and hope. In “Movement,” vocal harmonies ripple and sway over hymnlike synths; and “Fastnet” is a slinking, synthetic soul song, high, beckoning vocals gliding across tiny apostrophes of guitar. Cascades is the sound of a band stretching out, writing songs that feel purposeful, effortlessly melodic and full of grace and beauty.
The Silhouette Era
The Silhouette Era practically define Northern California's own brand of surf pop; not that of hot summer nights, but of freezing dawns and the sobering ennui that can only be found when you look, bleary-eyed out into an infinity of grey sky and ocean.
show less
Cascades, the title of the second record from the Brooklyn group High Highs, could be read in a number of ways. It could be taken as a nod to the group’s hometown—the coastal Australian city of Sydney, which rests against the beautiful, blue Pacific Ocean. Or it could be a nod to the record’s sound, which retains the broad scope of the group’s debut, Open Season, but feels bigger, and grander – sheets of sound, raining down softly. In reality, though, the title is a memory – a moment Jack Milas and Oli Chang remember while driving through the Cascade Mountains on tour. The song it comes from, also called, “Cascades,” is bright and expansive, silver threads of guitar laced through soft layers of synths. It builds softly and steadily, Milas’s voice swooping up to an aching falsetto on the chorus, synths pooling gently beneath him. More than anything else, the song is an indication of how far the group has come in a short period of time – from working together in a recording studio in Australia to opening for Sky Ferreira and Vampire Weekend. Cascades is a portrait of a band in ascent, making music grand enough to carry them along the way.
“The first album was intimate,” Chang says. “We were piecing together ideas in a small space with guitar and voice. With this record, we wanted to make songs that were fuller, that would fill a bigger room.” Milas puts the same sentiment more succinctly: “We wanted to have a bit more fun.” That sense of freedom rings throughout the record. On “How Could You Know,” guitars streak across the background like shooting stars as Milas employs an elegant falsetto to convey longing and hope. In “Movement,” vocal harmonies ripple and sway over hymnlike synths; and “Fastnet” is a slinking, synthetic soul song, high, beckoning vocals gliding across tiny apostrophes of guitar. Cascades is the sound of a band stretching out, writing songs that feel purposeful, effortlessly melodic and full of grace and beauty.
The Silhouette Era
The Silhouette Era practically define Northern California's own brand of surf pop; not that of hot summer nights, but of freezing dawns and the sobering ennui that can only be found when you look, bleary-eyed out into an infinity of grey sky and ocean.
High Highs
Cascades, the title of the second record from the Brooklyn group High Highs, could be read in a number of ways. It could be taken as a nod to the group’s hometown—the coastal Australian city of Sydney, which rests against the beautiful, blue Pacific Ocean. Or it could be a nod to the record’s sound, which retains the broad scope of the group’s debut, Open Season, but feels bigger, and grander – sheets of sound, raining down softly. In reality, though, the title is a memory – a moment Jack Milas and Oli Chang remember while driving through the Cascade Mountains on tour. The song it comes from, also called, “Cascades,” is bright and expansive, silver threads of guitar laced through soft layers of synths. It builds softly and steadily, Milas’s voice swooping up to an aching falsetto on the chorus, synths pooling gently beneath him. More than anything else, the song is an indication of how far the group has come in a short period of time – from working together in a recording studio in Australia to opening for Sky Ferreira and Vampire Weekend. Cascades is a portrait of a band in ascent, making music grand enough to carry them along the way.
“The first album was intimate,” Chang says. “We were piecing together ideas in a small space with guitar and voice. With this record, we wanted to make songs that were fuller, that would fill a bigger room.” Milas puts the same sentiment more succinctly: “We wanted to have a bit more fun.” That sense of freedom rings throughout the record. On “How Could You Know,” guitars streak across the background like shooting stars as Milas employs an elegant falsetto to convey longing and hope. In “Movement,” vocal harmonies ripple and sway over hymnlike synths; and “Fastnet” is a slinking, synthetic soul song, high, beckoning vocals gliding across tiny apostrophes of guitar. Cascades is the sound of a band stretching out, writing songs that feel purposeful, effortlessly melodic and full of grace and beauty.
The Silhouette Era
The Silhouette Era practically define Northern California's own brand of surf pop; not that of hot summer nights, but of freezing dawns and the sobering ennui that can only be found when you look, bleary-eyed out into an infinity of grey sky and ocean.
read more
Cascades, the title of the second record from the Brooklyn group High Highs, could be read in a number of ways. It could be taken as a nod to the group’s hometown—the coastal Australian city of Sydney, which rests against the beautiful, blue Pacific Ocean. Or it could be a nod to the record’s sound, which retains the broad scope of the group’s debut, Open Season, but feels bigger, and grander – sheets of sound, raining down softly. In reality, though, the title is a memory – a moment Jack Milas and Oli Chang remember while driving through the Cascade Mountains on tour. The song it comes from, also called, “Cascades,” is bright and expansive, silver threads of guitar laced through soft layers of synths. It builds softly and steadily, Milas’s voice swooping up to an aching falsetto on the chorus, synths pooling gently beneath him. More than anything else, the song is an indication of how far the group has come in a short period of time – from working together in a recording studio in Australia to opening for Sky Ferreira and Vampire Weekend. Cascades is a portrait of a band in ascent, making music grand enough to carry them along the way.
“The first album was intimate,” Chang says. “We were piecing together ideas in a small space with guitar and voice. With this record, we wanted to make songs that were fuller, that would fill a bigger room.” Milas puts the same sentiment more succinctly: “We wanted to have a bit more fun.” That sense of freedom rings throughout the record. On “How Could You Know,” guitars streak across the background like shooting stars as Milas employs an elegant falsetto to convey longing and hope. In “Movement,” vocal harmonies ripple and sway over hymnlike synths; and “Fastnet” is a slinking, synthetic soul song, high, beckoning vocals gliding across tiny apostrophes of guitar. Cascades is the sound of a band stretching out, writing songs that feel purposeful, effortlessly melodic and full of grace and beauty.
The Silhouette Era
The Silhouette Era practically define Northern California's own brand of surf pop; not that of hot summer nights, but of freezing dawns and the sobering ennui that can only be found when you look, bleary-eyed out into an infinity of grey sky and ocean.
show less
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