The following is a completely professional, regular, unbiased review. I totally didn’t fangirl for the entirety of writing what you’re about to read. (There is a very high possibility that I’m lying. Believe what you will.)
There’s something new worth checking out for indie rock fans, and it is Slugfeast’s new self-titled album. Released this September via Cherub Dream Records, it is the culmination of the Northern Californian band’s years of experience in multiple projects, with a sound that is bittersweet and cathartic, and lyrics that touch upon grief, growth and hope.
With Alejandro Magallan on vocals and guitar, Claire Tauber on vocals and bass and Lucas Wieser on drums, the group is a result of the trio’s friendship and shared love for music — and that chemistry is apparent by how well their sound blends together.
“Tired Eyes” starts the album off on a powerful note. It reminds me a bit of I Am Not Okay With This’s Bloodwitch, with its prominent bass, impactful drums and the harmonious combination of Alejandro and Claire’s voices. From this first track alone, Slugfeast does a great job of establishing their grunge-y sound and showing the power they bring to the table.
“Once Was Fine” was the one that really got me. Listening to this song felt like getting my heart crushed (but in a good way). It’s bittersweet, melancholic, raw, and full of building emotion that goes from quiet disappointment and search for approval to a full breakdown. I don’t know exactly what about this song completely captured me — I think everything, honestly — but I’m in love with it. It’s hard to review this properly since I had it on loop for so long that I ended up playing it a total of 35 times in the span of 3 days (which roughly equates to 3 hours straight). Between the potent guitars, the innocent and calm vocals in the beginning and the vulnerable lyrics, there’s just a lot of honesty to it. I don’t know how else to describe it other than ‘impossibly good’.
To me, “Local Pro” sounds like a song straight from The Psychedelic Furs’ discography. Maybe it’s the similarity of the singers’ voices, but it feels like it has the perfect atmosphere for an ’80s coming-of-age movie. The track has positive energy, and its lyrics speak of learning and taking it slow without worries. The song builds up to an energising solo that just instantly gets me in a good mood.
“Heavy Heart” follows the same melancholic, almost grunge energy seen earlier in “Once Was Fine”. The guitar riffs are powerful and addictive, while the vocals take a softer turn and feel intimate and personal. The repetition of “I lose myself” with the increasing reverb effects really drives the message of disconnection home. I love the way Slugfeast uses distortion and power in their guitar solos, as they hit that much harder, and the 5-minute duration of this and most of their other tracks is a plus, as we get to enjoy their sound for a little bit longer.
“Slug Jr.” keeps the energy high from the start, with a fast tempo and vibrant guitars. Again with the 80s vibes, it is bound to make you dance (or at least tap your feet). The guitar solo is incredibly powerful, and I love the loudness of it, as it shows an intensity that is later cut off in a very interesting manner.
For “Remission”, Slugfeast goes for a more experimental approach with their sound, resulting in an incredibly cinematic atmosphere. The track serves as an intermission of sorts, being fully instrumental and relying on interesting sounds and a beautiful piano melody.
“Detective” starts off with soft chords, humming and a rain sound in the background, only for the drums to kick in and introduce the listener to its real energy. The change from a dark-sounding verse to a bright chorus subverted my expectations and showed how sweet their sound can be. The solo starts as a variation of the chorus and escalates to something equivalent to a mental breakdown (it’s good, I promise), only to get cut off by quiet vocals that transition us into the chorus in a way that adds to a way bigger impact when the drums kick back in. The song ending with just the vocals was the cherry on top. Like with “Once Was Fine”, “Detective” makes me feel like Slugfeast cast a spell that makes me obsessed with their songs.
“Pet Sitting” has a darker sound, and it’s more shoegaze-y, giving off a vibe similar to Deftones in a way. The following track, “Tumbler”, starts off with a slower tempo, being much calmer and giving space for the vocals and lyricism to shine. I like the back and forth between the singers’ voices in the chorus, giving a more dynamic feel to the song.
“Wait and See” starts with a beautiful chord progression and establishes itself as a great contribution to the shoegaze genre, featuring bittersweet melodies and My Bloody Valentine-esque guitars. I would say this is one of Slugfeast’s sweetest and most romantic-sounding songs. This time, the guitar solo is calm and quieter than with their other singles, showcasing their range and how they can bend their usual sound to the vibes the song requires. The piano at the end was such a nice touch, making it sound even more magical.
The album’s last track, “Scraps”, goes right back to a slower tempo and starts off with a quieter sound. Its lyrics speak of a relationship that is quite one-sided, with their counterpart “stealing all [their] time” and energy. Once again, Slugfeast seems to have an ease in transitioning from a quiet, more vulnerable sound for their verses, building up power for the climax of the song, and quieting it back down near the end.
Slugfeast’s strengths lie in their vulnerable lyricism, hard-hitting drums and guitars, and their ease to go from quiet, melancholic verses to powerful, passionate, loud endings. They sure know how to build momentum. I really like the singers’ voices in general, but when combined, they turn into something magical. Listening to this album certainly made me a fan, and I’m definitely adding ‘going to a Slugfeast concert’ to my bucket list. Okay, now I’m going to listen to “Once Was Fine” on loop again.
Written by Ella Lipp
