Slow Pulp – ‘Yard’ album review: an earnest melding of delicate pop nuances with the raw power of rock and roll
From the hopeful to the cringe-inducing, many bands have entered and exited the indie-rock scene over the years. Rising from the ashes of The Smiths-inspired rock domain, many of these groups have embarked on the complex journey of weaving together contrasting themes of brightness and obscurity within their meticulously crafted soundscapes. A select few have excelled in this art over time — acts like Wolf Alice, Haim, Warpaint, and now, Slow Pulp.
Within the beautifully crafted walls of their new album, Yard, the Chicago-based quartet gracefully settles into the intricacies of indie music, carefully merging nuanced melodies and evocative lyrics to capture those elusive feelings that are difficult to capture with words. The album exemplifies Slow Pulp’s peak artistry, revealing the meticulous thought and refinement behind every track. It boasts a bolder vocal performance by Emily Massey and more endearingly intricate arrangements, resulting in an overall enjoyable visceral listening experience.
In the current indie scene, there are plenty of talented musicians, but what sets Slow Pulp apart is their profound vulnerability. Massey’s emotive vocals enhance the already stunning lyricism, and the drumming finesse of Teddy Mathews powerfully stands out, knowing precisely when to add delicate touches for maximum impact. The band knows vulnerability inside and out, as evident in their previous release, Moveys, which was mostly created remotely during the peak of lockdown.
With Yard, however, each track reaches a new level of excellence. ‘Doubt’ encapsulates everything you’ve come to expect of the band’s incredibly complex world, featuring a catchy hook, a playful rhythmic guitar riff, and an alluring drumbeat, which all exude a sense of coming-of-age while transcending the boundaries of seasonal themes. In ‘Slugs’, the simplicity and essence of adolescence take centre stage, driven by its addictive chords contributed by guitarist Henry Stoehr, which were inspired by his sixth-grade crush.
‘Mud’, meanwhile, delves into the realm of pop-punk, a space reserved for those seeking deeply introspective soundtracks for their road trips. In fact, ‘Mud’ perfectly demonstrates Slow Pulp’s signature allure: seamlessly melding delicate nuances with the raw power of rock and roll. Usually, many indie bands do well to tackle one while neglecting the other, but Slow Pulp clearly know what they’re doing when it comes to ticking all of the boxes.
An unquestionable highlight on the album is the emotionally charged Americana ballad ‘Broadview’. It languidly captures the essence of poetic lyricism, eloquently expressing the well-worn themes of love and heartbreak, leaving you with an earnest sense of cathartic relief as Massey sings: “Was I wrong? /Or is it okay to stay inside /And out of love?”
Yard concludes with ‘Fishes’, a song crafted in solitude by Massey in a cabin, where the backdrop was filled with Lucinda Williams’ melodies and the mesmerising dance of the fish in the lake. The album offers a serene culmination, serving as a stripped-back contemplation on acceptance, and an enduring message urging self-compassion: “Sink and swim and /Sink it all again /I’ve gotta catch myself this time /Like I know that I’m the prize /Like the fishes /And their winning size”.
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