The Softies – ‘The Bed I Made’ album review: A pocket of bliss to sit in
THE SKINNY: One of the most common critiques of modern music by people who latch onto the past a bit too much is that it’s too easy to make. They argue that thanks to technology and the fact musicians today have access to such a range of means when making music, it becomes far too easy and loses all soul. This couldn’t be further from the truth.
It’s hard to narrow down what kind of music you want to make when you have access to every sound ever, and in the case of The Softies, with their new album The Bed I Made, it can be equally hard to keep listeners engaged when you decide to move away from all the bells and whistles and instead make a stripped back guitar and vocal album.
However, despite the complications that can come with making something minimalist in the modern age, the duo manages to pull it off in the most wonderful way. Their new album focuses on three things: lyricism, guitar, and harmony. Those pillars hold up the entire record, and there isn’t an example of music out there where they have been stronger.
Every song is consistent in tone and yet completely individual from one another. Subtle changes like dragging notes out, using a more upbeat melody for vocals, and changing how a guitar is plucked mean emotion is conveyed throughout an album that touches upon self-worth, love, hate, and longing. This is the musical equivalent of how changing your facial expression when saying a sentence changes the meaning of the sentence, and it’s an example of songwriting at its very finest.
This is music at its most simple and equally profound. Before any technological add-ons, two guitars and two singers can perfectly articulate every emotion under the sun and do it in a way that resonates on a deeply spiritual level.
For fans of: People who like to feel like an album is speaking to them directly, over the shoulder, a whisper in the ear.
A concluding comment from the first-ever guitar: “This is what I was made for not the perverse string-bending bastard Eddie Van Halen.”
The Bed I Made track by track
Release date: August 23rd | Label: Father/Daughter Records | Producer: Rose Melberg & Nicholas Wilbur
‘Go Back In Time’: Sweet-sounding trickling guitar and harmonies. The opening track is a warm embrace to new listeners, soft by name and soft by nature. Undoubtedly stunning. [3/5]
‘I Said What I Said’: Considering the song is made up of a softly strummed guitar and two vocals, it brandishes a nice bit of versatility that separates it from songs of a similar nature. The vocal melody, in particular, is put together in an intricate way that keeps you hanging on to every word. [4/5]
‘To You From Me’: A track so tranquil it feels as though you could float in it. The harmonies on display in this album are a real stand out, and they come out in full force throughout this gorgeous number. [3/5]
‘Tiny Flame’: A bit more of an upbeat track. The plucking guitar is replaced with strumming, and listeners are plunged headfirst into this easy-to-sway-to track that carries over all of the lovely elements of the songs that came before. [3/5]
‘When I Started Loving You’: This is another slightly upbeat number. Delicate chords teeter in the background, and small electric guitar runs accompany a longing vocal. The chorus line “It started when I started loving you” is repeated to a delightful extent, and the song is a piece of sweet poetry put to music. [4/5]
‘Just Someone’: This song has a very full sound despite using the same elements as the previous one. The way harmony adds another chord-like layer over the vocals rather than mimicking the words almost sounds like an organ. It’s a treat to hear. [3.5/5]
‘California Highway 99’: A sad driving song, as the lyrics fit the idea of a road trip well, despite the fact they pine for a faster car that can escape the feeling of a breaking heart. It is a very well-put-together song and a great addition to a great album. [4/5]
‘Dial Tone’: The guitar takes front and centre in this song as the plucking is slightly more aggressive, making it more of a prominent factor rather than a supporting instrument. The vocal rhythm dances over this plucking incredibly well. [3/5]
‘The Bed I Made’: The titular track on this album is short but beautifully encapsulates everything wonderful about it. ‘The Bed I Made’ has all the elements that make this record stand out in full display and it’s a tranquil track that fits in perfectly. [4/5]
‘23rd Birthday’: Drawn-out vocals, singers sit on the final notes of lines throughout this track, making it feel subdued and sad. It’s a great example of how useful vocals can be to convey emotion, not just in what they say but in how they’re presented. [4/5]
‘Sigh Sigh Sigh’: There is a lot of character in the vocals on this song, and frustration can be heard in every word. Underneath them is the same chord structure that isn’t the most complex but is the perfect thing that the song needs. [3/5]
‘Headphones’: Angelic and stripped back. Considering how little the band has available to them on this album, it shows off their songwriting ability that the peaceful guitar and vocal combination hasn’t become stale. There are only a couple of songs left, and listeners will find themselves pining for more. [3.5/5]
‘Foot Path’: Journeys are remembered on this lovely number as we edge closer to the album’s end. It feels like an oddly nostalgic track despite being something brand new. [4/5]
‘Don’t Fall Apart’: A serene song to end on. The album has been a delicate brandishing of songwriting ability and how well minimalism can work in music. [4/5]
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