Opening with the fantastically energetic, neurotic and sincere To Voicemail, Big Cry Country’s sophomore EP – Something Blue – begins with a bang.
Reviewed previously by us in these here hallowed columns, it sounds as exciting and earnest as it did when we first heard it a few months ago.
There’s a rawness and a raggedness that lends the song a charming DIY slant with just the right amount of studio sheen that makes it feel like a blend of Hop Along, Interpol and Tilly & The Wall.
This is followed by Our Things. Opening with a wall of feedback and noise, it rapidly morphs into a jaunty headnodder. Continuing the vibe of the first track, it feels like controlled chaos. Frontwoman Roxanne Bublitz’s vocals remind us of an amalgamation of the empowered female-fronted lead singers of various ’90s rock bands. There’s also a whiff of more modern heroines like Hayley Williams and, dare I say, a little Olivio Rodrigo? Or perhaps it’s the aforementioned spectre of the women that came before them and who undoubtedly influenced these women too, that we detect? Either way. It rocks. By the time it ends, it feels more like a toe-tapper than a headnodder. Whatever you call it, it’s a lot of fun.
Up next is Grand Designs, which seems to add a bit of a pop-punk sensibility to proceedings. The chorus has a bittersweet wistfulness to it that feels at the same time familiar and unique. Roxanne’s vocals are again doing some heavy lifting here. She comes across as a female version of an amalgamation of Matt Skiba, Alan Sparhawk and Elliott Smith. Special mention to the rhythm section on this one, who are locked in tighter than a bank vault. The guitars – particularly in the chorus – are very well crafted; succinct and song-serving, they complement the rest of the music excellently. They’re just the right amount of understated. Even the solo is tasteful and short and far from ostentatious or self-indulgent – as they can sometimes be. Lastly, shout out to the “pull the wool over my own eyes” lyric. We’ve all been there.
Phenomenon is up next and feels like the biggest deviation in style so far due to the stop-start nature of the instrumentation in the verses. Don’t get us wrong, it fits well, but at this point, it feels like the most individual component of the EP. A little bit Weezery in places, it’s a fun pop rock piece that almost feels like it has a little bit of a nu metal influence poking through the gaps in the guitars.
The penultimate song – Losing Control – starts with a high-tempo riff. We’re reminded of the UK’s Fortitude Valley – with that unmistakable blend of bubblegum pop and buzzsaw rock tones. The mix is interesting on this one, with the bass seemingly quite low in the mix, allowing the other instruments space to shine. In the second half of the song, Roxanne’s vocals become a bit more soulful than they’ve been so far, which at this stage is a nice new string to add to their bow. The band are just as charming, but a bit more refined and nuanced on this one, perhaps?
Conversely to the previous track – on the closing tune, Cycle Theory – the guitars are dialled back and the rhythm section is prominent, at least in the beginning. The drums and bass are perfectly in sync, and the intro is pure pop-punk/rock. It feels a bit like early-ish Green Day or pre-major-label-era-AFI. The verses are bouncy, fun and infinitely enjoyable, and the chorus is catchy and anthemic. The vibe overall here is sunny and accessible – we can imagine this entertaining thousands at a festival or perhaps opening for a stadium rock band like Foo Fighters. This is really everything you could ask for from a modern rock song. It’s pretty much perfect. And then it drops. The tempo slows and the pared back bridge comes in, featuring Roxanne’s voice, a guitar and nothing more. It gradually builds and picks up where it left off before it broke down, and when it does, it feels even more powerful and potent than before.
This EP is an absolute triumph. The band appear to play pretty regularly in the DC/NY areas. Do yourself a favour and catch ’em if you can. We bet they’re fricking awesome. Shame we’re on the wrong continent(s).
Written by Kinda Grizzly
