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Sweetness
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Sweetness
Current price: $15.99
Barnes and Noble
Sweetness
Current price: $15.99
Size: CD
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Throughout the early 2020s, singer/songwriter
Rebecca Harvey
made a name for herself under the music alias
girlpuppy
with her moody blend of midtempo indie rock, floatier dream pop, and sparer intimacy, including on her debut LP,
When I'm Alone
. That album was produced by
Sam Acchione
(
Alex G
,
Tomberlin
), mixed by
Slow Pulp
's
Henry Stoehr
, and released on
Royal Mountain Records
. For the darker, heavier-textured follow-up, she adds washes of shoegaze, grungier alt-rock, and catchy 2000 indie pop/rock for her
Captured Tracks
label debut. Titled
Sweetness
(from a personal nickname), it was produced and co-written by
Alex Farrar
Wednesday
Horse Jumper of Love
) and finds
Harvey
ditching what were, for her, the pressures and insecurity of playing instruments, instead turning everything but singing over to a backing band. Building songs from the skeletons of a cappella voice memos, that band included
Beach Fossils
'
Tommy Davidson
the War on Drugs
Dave Hartley
, and
Dimitri Giannopoulos
. With
taking the reins of her own process in ways that she hadn't before, it was written after the end of a relationship where she felt marginalized. Like on
begins with a brief instrumental prelude, this time the spacy, part-electronic "intro" (featuring wordless vocals), before launching into "I Just Do!," a relatively sleek, tuneful example of early-2020s indie that gets noisy during the choruses. Things get a little grungier for the next couple tracks before
lightens things up on the sparser, piano- and bass-driven "Windows," a track with a spring in its step despite its subject of missing a lost love.
is filled with contradictions like these -- and affection, regret, pride, and longing -- befitting the grieving of a relationship that she wasn't happy in.
soon takes her ex to task on the confrontational "Since April," whose churning fuzz and relentless anguish is only softened by the singer's girlish vocal tone. That song is followed by another contrast in the brushed snare and pedal steel of the more reflective (and
Hartley
-featuring) "Beaches," which finds her starting to forgive.
closes on the two-person "I Think I Did" (with
Farrar
), a song whose title and time signature changes reflect continued uncertainty that seems to continue beyond the fade-out. ~ Marcy Donelson
Rebecca Harvey
made a name for herself under the music alias
girlpuppy
with her moody blend of midtempo indie rock, floatier dream pop, and sparer intimacy, including on her debut LP,
When I'm Alone
. That album was produced by
Sam Acchione
(
Alex G
,
Tomberlin
), mixed by
Slow Pulp
's
Henry Stoehr
, and released on
Royal Mountain Records
. For the darker, heavier-textured follow-up, she adds washes of shoegaze, grungier alt-rock, and catchy 2000 indie pop/rock for her
Captured Tracks
label debut. Titled
Sweetness
(from a personal nickname), it was produced and co-written by
Alex Farrar
Wednesday
Horse Jumper of Love
) and finds
Harvey
ditching what were, for her, the pressures and insecurity of playing instruments, instead turning everything but singing over to a backing band. Building songs from the skeletons of a cappella voice memos, that band included
Beach Fossils
'
Tommy Davidson
the War on Drugs
Dave Hartley
, and
Dimitri Giannopoulos
. With
taking the reins of her own process in ways that she hadn't before, it was written after the end of a relationship where she felt marginalized. Like on
begins with a brief instrumental prelude, this time the spacy, part-electronic "intro" (featuring wordless vocals), before launching into "I Just Do!," a relatively sleek, tuneful example of early-2020s indie that gets noisy during the choruses. Things get a little grungier for the next couple tracks before
lightens things up on the sparser, piano- and bass-driven "Windows," a track with a spring in its step despite its subject of missing a lost love.
is filled with contradictions like these -- and affection, regret, pride, and longing -- befitting the grieving of a relationship that she wasn't happy in.
soon takes her ex to task on the confrontational "Since April," whose churning fuzz and relentless anguish is only softened by the singer's girlish vocal tone. That song is followed by another contrast in the brushed snare and pedal steel of the more reflective (and
Hartley
-featuring) "Beaches," which finds her starting to forgive.
closes on the two-person "I Think I Did" (with
Farrar
), a song whose title and time signature changes reflect continued uncertainty that seems to continue beyond the fade-out. ~ Marcy Donelson
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