Austin-based indie-pop band fuvk got their name after an accidental text message typo. It started out as Shirley Zhu’s solo project back in 2016, but what began as an anonymous ‘musical journal’ soon expanded to become a full band (Shirley is now lead singer and songwriter). This early sense of anonymity is perhaps still echoed today, with the band maintaining a somewhat sparse and enigmatic online presence.
fuvk’s new album ‘thirty’ packs 13 tracks into less than 35 minutes, giving it a concentrated, focused immediacy. There’s nothing slight about the songs themselves, though – each track overflows with beautifully rich musicality and dense lyrical details.
We are left to wonder what the title of the album represents – the most obvious answer would be that ‘thirty’ is a reference to age. There are certainly enough clues scattered throughout the lyrics to support the idea. The lyrics do invite a little decoding – I quoted a few here, but recommend looking them up on Bandcamp. Each song is listed with a date, giving things an even more personal, diary-like feel.
‘all torn up’ – it’s a jaunty, bouncy start. Intricate guitar parts add an extra fizz. Shirley’s double-tracked vocals gel perfectly into the track, with a fast, rat-a-tat delivery. Halfway through, we get a sudden tempo change, and the track moves into a kind of half-time march. It’s a cool opener that’s bursting with ideas.
‘(un)fairweather’ – I got real 90’s indie-pop vibes here. Another fast-paced, tightly arranged (and performed) song that is full of silky smooth melodies.
“cross my heart and hope to try
to make sense of her goodbyes
she’s the rain and I’m the sky
always there but who knows why”
‘aquarium guy’ – Lush strings, tactile guitars, and some fast shuffling drums. I got a strong folksy feel here. The track has plenty of space, and moves between its multiple sections like a musical conversation.
‘4334’ – Shirley’s vocals are disguised and hidden under FX in this enigmatic track which is – of course – full of cool fills, unusual breaks and creative use of FX. The shortest track on the album, it becomes more and more intense as it progresses.
“red and white and green arcade
called your bluff and hit the brakes
you had me but I’m to blame
violent like a hurricane”
‘bug boy’ – I loved the groove on this track – but don’t get complacent – the vibe is constantly shifting. After the banjos and warm, bubbling bassline, strange other-worldly sounds appear from the shadows – but they’re gone as quickly as they arrive. The densely packed lyrics spread throughout this album leave plenty of room for interpretation, and this track is another great example.
“I found him counting blades of grass
with a june bug in his hand
if you’re wondering, just ask
he’s an ordinary man”
‘hey, little bird’ – Every second of each track is crammed full of cool ideas. It’s already obvious to me that I’m going to have to listen to this album a few times to really get to grips with it. Crazy shifts from light to shade, there is a little darkness hidden behind those pretty melodies.
“hey little bird on the telephone wire
did you have a good laugh when you saw me unraveling
haven’t you heard that the flowers are drowning
in that pocket of earth that you can’t seem to stop watering”
‘welsh goodbye’ – The phrase “Welsh goodbye” refers to someone taking a long time to leave or say goodbye. This track, however, never overstays its welcome and has a satisfyingly catchy motif at its heart. On the face of it – light and breezy – but once again, a look at the lyrics reveals a little sadness.
“found myself in the fresh snow, depressive episode
just like the dream where I felt downright
bizarre, take what you like
then hit me with the welsh goodbye”
‘1/100’ – The warmth of the vocal really shines through, and you can hear every word in this tale of breakups and lost love. It seems this band has a limitless supply of irresistible melodies!
‘elegy’ – One of the shortest tracks on the album, it almost feels like an interlude. It has layer upon layer of vocals and guitars, and a beautifully crisp violin. I loved how the bass followed the vocal melody – it felt like some hidden entity was singing along.
‘magnolia*’ – Intricate melodies? Check. Catchy hooks? Yep. Inventive arrangements? Of course! It feels like nothing repeats – each bar has some new FX, or a new variation – it makes for a wonderfully rich, textured sound that demands repeated plays.
‘apple of the earth’ – A cool contrast between glitchy moments and butter-smooth sections. Once again, Shirley’s strong accent adds plenty of flavour – it’s a bit like REM mixed with They Might Be Giants.
‘big october’ – Stripped down, with pretty interplay between the instruments. Subtle French horns and banjos join the guitars and close vocal harmonies. It’s over before you know it.
‘red rover’ – The album closer starts with the best intro yet. There are soaring strings, a subtle piano, and perfectly placed harmonies. One of the gentler tracks on the album, it’s like a warm hug from an old friend.
“I don’t care if it’s a lie
I don’t want truth just a beautiful guise
hide today, come back tonight
when you leave, I’m fine”
The album’s conversational tone feels warm and personal, with darker lyrical themes nicely balanced by the effortlessly uplifting music.
Throughout ‘thirty’, I kept asking myself: Is this bedroom pop? Is it indie? Perhaps it’s chamber pop? I’m still not sure. You can decide.
‘thirty’ is a beautifully produced album bursting with shimmering melodies, inventive arrangements, and wonderful sound choices.
Clear your calendar and spend time with this album’s intricate, fleeting, genre-blending chapters.
Written by Grubby
