Swim Deep – ‘There’s A Big Star Outside’ album review: The band have never sounded better
THE SKINNY: As There’s A Big Star Outside begins, the keys sound like a lullaby. ‘How Many Love Songs Died In Vegas?’ swells to life in a way that seems to make your body sway side to side as if rocking a baby or soothing your inner child. “It gets better, I heard it gets better in time,” Austin Williams sings like an affirmation of reassurance, acceptance or dedicated hope as a new chapter for Swim Deep opens, motivated by a desire to shake off the shackles or escape the curses of the past ones.
But that’s not to besmirch what came before. Since their breakout in 2013, Swim Deep have more than rightfully stuck around as one of the few surviving – or even fewer still good – bands from their distinct scene. After blowing up during the heyday of indie, they’ve escaped falling into the tired old hole of mere nostalgia by continuously running and experimenting.
But on There’s A Big Star Outside, they seem to have stopped. As if suddenly able to shake off the expectations or the fear of what might happen if they slow down for a second, the album is coloured by a beautiful and impactful simplicity. It feels like they’ve stopped being so distracted by external factors and instead have refocused on nothing but themselves, what they have to say and the power of a good song to say it.
That’s resulted in a record that sounds like the band at their very best across every pillar. Lyrically, Austin Williams’ pen is nuanced and sharp. In his contemplations on fatherhood, grief, childhood and love, he weaves huge feelings into delicate lines that dance between the anthemic and intimate. As a whole band, every detail of the instrumentation feels perfected and in service to the song. Whether it’s gentle details on guitar and synth or huge cinematic, swelling moments, every single song is lush and expertly made.
In that way, the impact of Bill Ryder-Jones is felt clearly. As someone who knows the struggles of evolving beyond an early indie form well, it feels like the producer granted the band the comfort and confidence to be more classic. In our conversation with the band, they discussed the idea of the ‘campfire method’, prescribing to the idea that if a song sounds good in its simplest form, then it’s golden. That idea serves as the absolute north star of the album. It allows the band to climb to their greatest highs yet.
They cover all bases of what you could want from a perfect indie rock album but do it all with the same Swim Deep flare that has helped them endure for so long. It’s an album that’s packed away the distractions and gimmicks to instead fully invest in the glory of a good song. And as they follow that golden star, Swim Deep have never, ever sounded better.
For fans of: Contemplation on a cinematic scale, as though Wim Wenders is directing your thoughtful walks to the corner shop.
A concluding comment from Swim Deep’s 2013 selves: “Wait, we have kids now?”
There’s A Big Star Outside track by track
Release date: 7th June 2024 | Producer: Bill Ryder-Jones | Label: Submarine Cat
‘How Many Love Songs Have Died In Vegas?’: A song so beautiful, so nuanced, and so tender, this album opener deserves to usurp ‘Honey’ as the band’s new defining track. [4.5/5]
‘Very Heaven’: With a title borrowed from an Elbow track and a distinct The Verve tone to it, Swim Deep have created a new rock anthem that demands arms in the air, a swaying crowd and a huge festival crowd to sing every word. [4.5/5]
‘Don’t Make Me A Stranger’: Starting with little more than an acoustic guitar and tambourine, they’re proving that the best songs need little help to make an impact. As it grows from an acoustic number into a beautifully cinematic climax, the group have rediscovered the glory of simplicity. [4/5]
‘Robin’: While Swim Deep’s last albums have been focused on experimentation, the return to a classic band set-up helps them deliver exactly what’s been missing: hooky lyrics and choruses that capture you. [3.5/5]
‘These Words’: A stunning take on life and death, love and loss. This is a lyrical best for the band. [4.5/5]
‘First Song’: The drums on this track are amazing, and with the synths as well as the guitar that comes roaring in, the cinematic nature of the album is kicked up into high gear here. [4/5]
‘Glitter’: The closest the record comes to their old stuff is on ‘Glitter’, a jangly, high-octane cut that offers a moment to dance. [3.5/5]
‘Big Star’: This was the track that started it all as the first one written for the record. With its beautiful lyrics contemplating life and love and simple form, it’s easy to see the solid foundations the album is built on. [4/5]
‘It’s Just Sun In Your Eyes’: The sound gets stripped back for a moment of Elliott Smith tones angst. In their discography, Williams’ voice has all too often been smothered by a big instrumental, but in moments like this, you’re reminded just how good it is. [3.5/5]
‘So Long, So Far (Marble-Bellied Baby)’: Just an insanely lovely, super sweet song built from foolproof melodies and a perfectly balanced instrumental. No notes, just enjoyment. [4/5]
‘Fire Surrounds’: The band discussed using the ‘campfire method’ for this album, meaning that if a song sounds good on an acoustic guitar around a flame, then it’s a good song. ‘Fire Surrounds’ would more than pass the test. [3.5/5]
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