This fresh line-up shines with new sonic directions, especially White’s guitar playing, while their lyrics tackle themes of societal struggle and personal experiences. The album does a fantastic job of running parallel sounds: one path takes you down a more indie pop route while its companion is an angular post-punk track that, at times, takes the lead and gives each song an extra shot of adrenaline. The mix is perfect as each song has its own personality that fits into the cohesiveness of Homosapien and never dulls with repeat listens.
Nightshift’s latest work brings a blend of free and energetic sounds. The incorporation of both harder-edged rock and country-inspired guitar lines by Chris White, dynamic drumming by Rob Alexander, and the heartfelt, urgent vocals of Eothen Stearn result in a vibrant and eclectic mix. The album also features contributions from Ray Aggs on fiddle, and Stearn’s well-placed keyboard playing creates multiple layers that really work. Even the sounds of waves crashing in the opener “Crystal Ball” is an excellent effect that adds depth.
From their previous work on Zöe to Homosapien, Nightshift has transitioned from their earlier experimental phases to more structured and colorful compositions. Chris White’s move from drums to guitar has brought a new dimension to their music, pushing the band’s sound towards a more concise and lively direction. Nightshift sounds more focused on Homosapien than on any previous release.
Stearn’s voice has a very Mary Timony (Helium, Ex Hex) and Cat Power tone, while the band has enough angular moments to draw comparisons to Sonic Youth. Dry Cleaning’s confidence and delivery can be heard on Homosapien, while a cool La Luz mode can be found alongside the classic sounds of Young Marble Giants.
Key songs on the album include “Crystal Ball,” “Cut,” and “Side Effects,” which address societal issues. “SUV” is a fun, foot-tapping track that features the great line “Sitting in the back of my SUV with my lovers between me,” and the indie rock punk-out “Your Good Self” doesn’t even hit the 2-minute mark but is fantastic.
Eothen Stearn’s lyrics are marked by a sense of optimism and reflection, even when addressing darker themes. Her words capture a range of emotions, from political commentary to explorations of contemporary relationships, imbued with humor, sincerity, and critique. The emotional back and forth on “Phone” sums up these struggles when Stearn sings, “Better off without you, better off with you, better off without you.”
Christopher Anthony
For more of Christopher Anthony’s music reviews, check out The Fire Note
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