Salt Lake Metropolis-based band Indigo Waves fuse rock and electro-pop hookiness inside introspective lyrical drives on their sophomore album Mirror, out on March seventh. An array of atmospheric synths and versatile guitar work complement themes of non-public progress — and the passage of time, specifically. “This album is about wanting again on the variations of ourselves we depart behind,” lead vocalist Austin Oestreich says. “It’s about questioning whether or not we’re transferring ahead or simply reliving the previous in numerous methods.”
“Visions” kickstarts the album with a strongly melodic, dynamic pull — spanning from suave bass-led intrigue to anthemic synth-pop heights. Quaint guitar strums come up through the climactic bridge, traversing seamlessly into radiant digital textures and gleeful vocal ardour through the rousing central hook. Indigo Waves persistently showcase a cohesive, hook-filled mix of rock, pop, and digital realms — and “Visions” wastes no time in touting the venture’s stylishly eclectic capabilities. The following “Smith & Weston” continues the immersion, this time inside a jangly pop bounciness and palpable lyrical craving. The “I used to be only a boy / Why does it tear me aside?” ruminations on previous trials convey a way of lingering up to now, a theme that continues artfully all through the album.
All all through its 14 tracks, Mirror consumes in its mix of replay-ready structural ascents and emotional contemplation. Reminding fondly of Minimize Copy, the invigorating “Daylight” dazzles with its vivid synths and buzzing bass pairing, invoking a wintry ’80s nostalgia in its mid-point bridge. In the meantime, “Hillside” returns the balanced assortment of acoustic guitar strums and hovering digital parts, culminating within the memorable “you have been all that I would like,” chorus. The “she wore the garments / you used to put on,” line additional evokes the impression of echoes from the previous, and their roles in private evolution and striving to keep away from acquainted patterns.
A warming new-wave nostalgia is conjured on “Out The Door,” the place a post-punk rhythmic pulse fuses with a caressing vocal twang. The plucky guitars intertwine fantastically with nocturnal synth adornments, as insightful lyrics reference the uncertainty of non-public progress: “Half of the place you’re purported to be is / nothing near the place you’re going.” The following “Tony Hawk Professional Skater” shifts gears right into a peppy rock arsenal, embracing a punk-friendly glistening that might be an ideal match for the sport collection’ legendary soundtracks.
A young, dreamier spell takes maintain all through a number of of the album’s remaining tracks. “IBWUFY” melds lush acoustics and twinkling synths as vocals reassure “I’ll be ready up for you,” — like a guiding mild via a frightful evening of reminiscing. “Reflections” offers a farewell foray into the bursting electro-pop aesthetic, interesting in its psych-ready space-pop manufacturing. Thereafter, the title monitor serves as a blissfully atmospheric finale, traversing with starry-eyed captivation as serene synth swells information into a mild concluding fade-out.