Tearjerker made their mark in 2014 with "You Can," a blissed-out anthem that evoked the feeling of being at a late night house party when the sun suddenly rises.
Two years and a full-length album later, the Toronto trio are back with Really Into You, a vulnerable indie rock EP that finds them putting their gloomiest foot forward. On the title track, Tearjerker sum up the heartbreaking vibe of the album, repeating "Hey! / You're gonna fall in love with someone else." Tearjerker are evolving towards a darker, more mature sound, somewhere in the neighbourhood of formalists like John Vanderslice and Spiritualized.
Yet, it takes a few listens to start appreciating Really Into You. The production is definitely on the experimental side, as if the band are playing hidden behind a smoke screen of found noises and distorted tones. It's an interesting choice that isn't quite justified, and instead of engaging us, it puts a barrier between the listener and the songs. You have to really pay attention to uncover the fragile melodies and lyrics, which deserve to be in the spotlight.
It's enough to make you think of that early Nirvana footage where Kurt Cobain is playing facing a basement wall: there's good stuff there, but it'll reach its full potential once the singer turns to face us.
(Almost Communist)Two years and a full-length album later, the Toronto trio are back with Really Into You, a vulnerable indie rock EP that finds them putting their gloomiest foot forward. On the title track, Tearjerker sum up the heartbreaking vibe of the album, repeating "Hey! / You're gonna fall in love with someone else." Tearjerker are evolving towards a darker, more mature sound, somewhere in the neighbourhood of formalists like John Vanderslice and Spiritualized.
Yet, it takes a few listens to start appreciating Really Into You. The production is definitely on the experimental side, as if the band are playing hidden behind a smoke screen of found noises and distorted tones. It's an interesting choice that isn't quite justified, and instead of engaging us, it puts a barrier between the listener and the songs. You have to really pay attention to uncover the fragile melodies and lyrics, which deserve to be in the spotlight.
It's enough to make you think of that early Nirvana footage where Kurt Cobain is playing facing a basement wall: there's good stuff there, but it'll reach its full potential once the singer turns to face us.
