Middle Kids – ‘Faith Crisis Pt. 1’ album review: a hit of anthemic indie pop
THE SKINNY: Two years on from Today We’re The Greatest, and while a certain slice of Middle Kids‘ audience is labelling Faith Crisis Pt. 1 a departure from their sound, it’s hard to hear anything has changed for the Australian trio. They are still delivering heart-rendered indie pop songs for an alternative audience.
Perhaps the only difference between this and previous releases is that the group now feel confident to reach far enough into the realms of shiny production to create something more universal. The kids are growing up.
There’s no better reflection of their newfound than on ‘Dramamine’, the group’s standout single. It’s a glittering anthemic track built for riding shotgun down a sunshine-drenched highway with an unknown destination. It’s the kind of pop song that can catapult a band into stardom without their knowledge.
However, to suggest Middle Kids are unaware of what they’re doing here is to do a terrible disservice to their savvy. The group have produced a record that feels just as at home on the radio as it does in your headphones. Faith Crisis Pt. 1 speaks highly of a band finding their groove and taking their opportunity to be stars.
Of course, as with every high, there must come a low, and there’s a sincere wish on my part that the group doesn’t fall into the habit of creating tunes to have live “moments” or internet virality. Doing so will push these kids firmly into the middle of the road. If Faith Crisis Pt.1 is Middle Kids reaching new heights and beginning to put their foot on the ladder of success, then there are high hopes they’ll reach it.
For fans of: Chugging down the freeway and belting out your most personal moments disguised in a pop song.
A concluding moment from my mum: “Are you sure this is a new album? I swear I’ve heard it before.”
Faith Crisis Pt. 1 track by track:
‘Petition’: A burst of frenetic energy is the best way to start an album, and Middle Kids deliver a perfect deadpan number with ‘Petition’. The kind of song that pulsates until the refrain alleviates the pressure and sends the track into overdrive. [3.5/5]
‘Dramamine’: A standout number on the record. Songs like these gather up a group and launch them headfirst into the stratosphere. Complete with a glittering chorus, it’s a belting anthem. [4/5]
‘The Blessings’: A darker turn is a welcome relief following the sugary openers, but the track does little to detract from the album’s overall sentiment, providing more indie pop for the masses. [3/5]
‘The Blessings Interlude’: Of course, there’s little point critiquing an interlude… usually. However, this one is dreamy and worth its weight in attention. A gentle refrain that breathes life into the track that preceded it. [3/5]
‘Bootleg Firecracker’: A rare acoustic moment, ‘Bootleg Firecracker’ feels more closely attached to the heart of vocalist Hannah Joy. This closeness allows the listener a clearer view of the artist behind the art and shines a light through one of the record’s few visible cracks. [4/5]
‘Highlands’: Here’s the first taste of the group’s growing stadium rock sound. There are flecks of all your classic rock favourites here. But while sonically, the track could feel like a few other acts. The lyrics allow Middle Kids to bring their own unique flavour. [3/5]
‘Bend’: There aren’t many moments where we’d rather not be listening to the LP, but ‘Bend’ feels like one of the group’s more contrived moments. While I wouldn’t suggest the track was written to provide the aforementioned viral moments, its worth avoiding chemically inducing moments of spontaneity. [2/5]
‘Go To Sleep On Me’: Provides a more pared-back sound. A swaying audience with lighters in the air is replaced by a very personal track. It reverberates around your ears with a unique vibration that one only feels with a snoring loved one. [3/5]
‘Terrible News’: Call me a simpleton, but there’s something wonderful about a track reaching out of the speakers and grabbing you by the lapel. ‘Terrible News’ does just this, with the attention-seeking riff and Joy’s yelping lyrics. An arresting moment that demands your full concentration. [4/5]
‘Philosophy’: Another indie pop gem, ‘Philosophy’ rings out with a nostalgic warmth that will make any 2000s indieheads reel with happiness. Light enough to get lost in with enough punch to remind you to watch your mouth. [3/5]
‘Your Side Forever’: Joy’s vocals do feel intended for grander stages. It’s hard not to hear them ringing with the same tone as Taylor Swift and a host of other extremely commercial pop singers. But, within that setting, it merely makes the tracks jump out of the speakers. [3/5]
‘Your Side Interlude’: A slightly longer interlude this time still allows the audience to gather their breath. Twanging guitars and drifting soundscapes allow the moment of reflection that is intended. [3/5]
‘All In My Head’: After a record so neatly dripping in guitar riffs and stadium-sized tracks, it’s a bold move to close out the album with a piano ballad. It’s a delicate moment that most of us have witnessed in our fragile love lives. It is here that Middle Kids can transcend their genre-defined area and provide something truly beautiful. The duet with Dave Le’aupepe is inspired. [4/5]
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