Dehd – ‘Poetry’ album review: wistful indie that toes the line
THE SKINNY: Chicago’s Dehd have been cult favourites since they first burst onto the scene with their self-titled debut in 2016. Blending punk, garage, indie and dream pop, they’ve found increasing acclaim with their formula as time has worn on. On their fifth album, Poetry, they continue to push themselves into new areas, and it arrives at the perfect time as the sun returns and the skies turn a promising blue once again.
A blend of all the elements that have made the trio so lauded up to now, with bassist Emily Kempf and guitarist Jason Balla sharing the vocal duties as per tradition, there’s a distinctly wistful essence underpinning the new effort. It is no doubt influenced by the road trip and natural environments that surrounded them when constructing it, as well as the Charles Bukowski poem, The Laughing Heart, which they cite as instrumental in tying together the themes.
Finished in their warehouse space in snowy Chicago and co-produced by Ziyad Asrar of fellow Chicago outfit Whitney alongside Balla, it was the first time the band had collaborated with an outside force. This convergence heightens the profoundly authentic feel the record has at points. It encompasses a host of familiar human emotions, all put through the blender of Dehd.
Fully sincere from start to finish, in many ways, Poetry is the sound of late summer nights and the existential questions they often produce. However, my main criticism is that it is far too long for a body of work that stays mainly in the same lane, 14 tracks in total, with the sentiment often feeling overdone. This unfastens the potency of its highlights and makes it harder to separate the most stylistically similar tracks, watering down the effect they might have had.
For fans of: Road trips, Bud Light, and camping.
A concluding comment from a TikTok goth: “I like it a lot, sounds original.”
Poetry track-by-track:
Release Date: May 10th 2024 | Producer: Ziyad Asrar/Jason Balla | Label: Fat Possum
‘Dog Days’: A single from the record, the opener is one of its undoubted highlights. An earworm balancing an infectious vocal melody, lyrics about broken hearts and a punk spirit, this is perfect for the warmer days. It’s full slacker rock glory. [4/5]
‘Hard To Love’: A slower moment with a distinctly country feel; I’d wager that this song came to fruition when the band were in New Mexico on their road trip. Featuring Kempf’s warm, earthy vocals, it’s something of a lighter-in-the-air moment with glorious guitars added for good measure. [3/5]
‘Mood Ring’: The lead single of the record, this one has an undeniable groove. One of the poppiest moments included is that it toes the line between mainstream vanilla and Dehd very dangerously, which is partially alleviated by Kempf and Balla taking on verses, with their respective styles counterbalancing nicely. [3/5]
‘Necklace’: A slice of charming slacker folk, Balla takes the lead here, with his snaring baritone one of the most potent moments on Poetry. The heavy undercurrent brings to mind not only Kurt Vile but Wavves, too, as there’s also a headiness matching the force. It’s also very reflective and typifies what is best about this album. Going straight into my Spotify saves. [4/5]
‘Alien’: Opening with the sensitive strums of the acoustic, this stop is another mushier point, as Kempf gets very candid in delivery and poetry. It’s another piece of poppy indie folk. It’s not my bag, but if the band keep writing cuts such as this, I wouldn’t be surprised to see them in the charts, on an advert or used in film. It shows their musical and emotional scope, at least. [2.5/5]
‘Light On’: Those reverberating plucks of the guitar strings in the introduction prompt enough suspense to keep us locked in before the beat arrives, and Balla returns with a direct vocal melody. A more pop-oriented moment, it will certainly appeal to a new type of fan, but it isn’t anything you haven’t heard before. [2/5]
‘Pure Gold’: A swaggering chord progression brought forth on the acoustic guitar and an appropriate beat make this stop an instant head-mover as Balla and Kempf’s vocals dovetail perfectly. Furthermore, there’s an exquisite lead line and enough attitude to make you say fair play. Perfect for summer barbeques when everyone’s a couple of beers in. [3.5/5]
‘Dist B’: Dreamy indie in all but name. This is yet another moment that fails to stand out in any aspect. Sure, it’s accomplished enough in songwriting with clean production, but it’s fairly middle of the road across the board and quickly fades into memory. This is despite the droning guitar that bursts through the mix after the halfway point. [2/5]
‘So Good’: This number is a bit emo. The chorus is an anthemic twist of the honest introspection that Kempf is well-accustomed to writing, with her bassline and Balla’s piercing guitar line linking up to elicit some authentic emotion. Made for a large arena, it gives a strong hint of the direction the band could easily head in if they wanted to make their wallets swollen. [3/5]
‘Don’t Look Down’: A catchy piece of slacker rock with an energetic beat enveloped by harmonious guitars and a grooving bass, this has teen rom-com written all over it and builds to an appropriately hair-raising climax. [3/5]
‘Knife’: Arguably the most saccharine moment found on Poetry. Regardless of the sentiment, it’s rather cloying, from the syncopated electronic beat to the vocals, and unfortunately, it’s one of the tracks that the record would have been stronger without. [1/5]
‘Shake’: Featuring one of the finest guitar parts Balla produces on the record, this number sees Dehd conflate what are clearly his and Kempf’s different styles more seamlessly, without losing sight of either one. In keeping with the spirit of the record, it’s a melancholy endeavour. [3/5]
‘Magician’: A piece of Bruce Springsteen-esque indie rock, the penultimate offering on Poetry fuses honest lyrics with an upbeat character, which will no doubt be well-received in the live setting. [3/5]
‘Forget’: Bringing the curtain down on Poetry, Dehd provide one last moving number. Noisier than most of the other tracks on the record, there’s maudlin churning guitars, affecting vocal performances from Balla and Kempf, and an earworm of a central guitar line. [3.5/5]
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