Spirit of the Beehive – ‘You’ll Have to Lose Something’ album review: an eclectic masterwork
THE SKINNY: Philadelphia‘s Spirit of the Beehive have been one of the most compelling and distinctive acts since their emergence a decade ago. Their ever-evolving, kaleidoscopic sound has shifted over the years, becoming more challenging in some ways and more profound in others. On their fifth album, You’ll Have to Lose Something, they craft yet another postmodern masterpiece, blending an array of genres and emotions to create a fully immersive yet unpredictable listening experience. The album captures every possible sensation, akin to spending a week alone, wandering through the hidden corners of a sprawling urban metropolis.
You might say that Spirit of the Beehive have made a career out of toying with the listener, producing fleeting moments of serenity that are counterbalanced by ones of pure existential dread, yet on their latest effort, they smooth over the hard turns. Despite its deeply multifarious and re-listenable nature, this tact underpins a record where the melancholy is more prominent than it perhaps has been in the past, adding a new dimension to their already substantial sound.
This might have to do with the breakup of Zack Schwartz and Rivka Ravede or the fact that it was written between the differing climes of Portugal and Philadelphia. Still, regardless, the band bottles reality’s continually altering fortunes better than almost any other opus I’ve ever heard. For this reason, it hits differently than what came before, despite how excellent its predecessor, 2021’s Entertainment, Death, is.
Whether shimmering Harold Budd-esque moments of pure musical transcendence, brutal snaps of industrial, or discombobulating samples and textures, You’ll Have to Lose Something sonically mirrors a world where humans and technology are becoming one and information is more accessible than it has ever been, creating personal realities established from privately assembled contexts. This, when fused with a new concentration on refinement and an added dose of sincerity, has created a cinematic offering that stands as one of the best of 2024.
Do not be surprised if they moonlight as film soundtrack composers in the future.
For fans of: Ketamine, Tarkovsky’s Solaris, and that feeling of climbing into bed in the early hours after a Winter night at a club.
A concluding comment from your local indie fiend: “This is just… it’s unlistenable… it makes me feel uncomfortable…”
You’ll Have to Lose Something track by track:
Release Date: August 23rd | Producer: Zack Schwartz & Corey Wichlin | Label: Saddle Creek
‘The Disruption’: A fitting name for an opening track that kicks off the record with verve, immediately disorienting the listener with samples before delving into an off-kilter shuffle. Drawing on punk, ambient, trap, and many more areas, this is a perfect way to commence. [4.5/5]
‘Stranger Alive’: Starting with the far-away sounds of the brass and arresting drums, it delves into one of the album’s best grooves, with a warm bassline and the vocals enveloping you. Customarily, things soon change as more elements are added to the mix, but rest assured, this builds to one of the most satisfying climaxes on the record. [4.5/5]
‘The Cut Depicts the Cut’: A return to the more dystopian sounds that the group have always been adept at with bubbling synths and noises, Ravede’s atmospheric vocals and the deep sub that carries this one are a match made in heaven, bringing to mind a rainy night in Blade Runner‘s Los Angeles. Incredibly ominous but profoundly beautiful, this is one of the best cuts on the album. [4.5/5]
‘Let the Virgin Drive’: While the fourth song is undoubtedly a kaleidoscopic mesh, the direct nature of the vocal melodies, the thickness of the bassline and that strange sample work together to establish a track that echoes the spirit of our times. It is clear that You’ll Have to Lose Something is some distant postmodern relative of the original psychedelic argonaut, Sgt. Pepper’s. [4.5/5]
‘Sorry Pore Injector’: Commencing with a sort of vaporwave splendour, comprised of sunny electronic textures and majestic orchestral instrumentation, this is another shout for the finest on the record, as the forthright crunch of the guitars and harmonic potency of the vocals cut through and pull it in an unexpected direction. However, the true highlight of this one is The Cure-esque, synth-driven climax, where the piping strings and expressive drums dovetail with full impact. [5/5]
‘Found a Body’: A glitchy, more electronic-oriented environment opens this one, with it perfect for the post-club comedown at a smoke-filled afters. Super stoned and incredibly artistic, even halfway through the album, the true genius of Spirit of the Beehive is undeniable. The partnership of the guitar line and rhythm at the end is ideal. [4.5/5]
‘Sun Swept the Evening Red’: From one truly cinematic cut to another, this narcotic blend is another that I could happily listen to on repeat while walking around the bustling locale. From the bursts of the band to the jangling guitars, Ravede’s harmonious vocals, and on to the funkier moments, to effectively pack so much into a song under three minutes is a triumph. [4.5/5]
‘Something’s Ending’: The shortest track on the album, this glitchy and daunting potpourri of elements seems to speak to the internal dissonance stoked by the end of a relationship. The way the group dances between tenderness and darkness is persuasive and sets up the ensuing track perfectly. [4.5/5]
‘I’ve Been Eviil’: Released with the previous track, this provides a stunning second chapter to it, and another highlight from You’ll Have to Lose Something. Spirit of the Beehive wastes no time in getting straight into it, with the melodies and lyrics, the most memorable on their latest effort. Fully guaranteed to go down as one of their finest compositions, the all-encompassing final section just sucks you in. [5/5]
‘1/500’: Bursting through the speakers with funk-evoking orchestral blasts, we are then catapulted down a much mellower path, where the chiming guitars and a tangible sense of emotion take hold. We’re in the third act now, and there’s no surprise the sentiment is much more unrestrained, with this the most radio-friendly juncture, without forgoing any of the group’s character. [4.5/5]
‘Duplicate Spotted: The penultimate track is another incredibly satisfying one, with the slightly off-kilter melodies, crunching guitars and imaginative structure creating a total joy to listen to from the onset. Using the strings over the electronic palette they create at the end is another moment of unconditional beauty. [4.5/5]
‘Earth Kit’: It’s fitting that the closing number should be the most stirring on the record. Commencing with a winding orchestral section of the kind that once again brings to mind the point about Sgt. Pepper’s, as well as flecks of Jonny Greenwood’s soundtrack work, it is another clear indication of the band’s scope. The moment the vocals enter is highly potent, as is how the band morph the final song into something completely different at the end. [4.5/5]
Never Miss A Beat
The Far Out New Music Newsletter
All the latest New Music from the independent voice of culture.
Straight to your inbox.