From the few tracks released so far we just wanna say, whatever you think you know about what’s to come on The Shallows’ debut full-length is wrong. And those expectations you think you have for Wave State? Beyond what you’re expecting. Hyped up yet? You should be!
Hot on the heels of their epic Rock & Roll Rumble performance, Somerville’s own The Shallows build on that momentum and the strength of the songs released so far to collect 10 tracks that manage to actually capture lightning in a bottle or, in this case, lightning on a computer… or tape or eight track. Whatever you prefer? Anyway! “Soft Night”, the most recent single release, is a solid opening salvo introducing avid listeners to the majesty of Jess Baggia’s ethereal voice that’s haunting yet inviting amongst shimmering guitar lines from Brad Emerson akin to Disintegration or “How Soon Is Now?” and drumming by Jason Keisch that’s propulsive leading into an unexpected tempo change that ups the pace and impact.
Another previously released song, “Verdant” is effervescent within the sonic fabric of Wave State with Ben Didsbury’s bass strums equally voluminous and vibrant to match the textures laid out by the synths and Emerson’s guitars. “250” is like wading into a lush film score with the atmosphere that surrounds immediately and “Channels” has a familiarity to it with a mighty chorus that glistens. “Collider” is big, bold, and practically luminescent with the way that Emerson’s guitars entrance and Keisch’s drumming elevates this steady New Wave meets Electro-Rawk meets Post-something ditty while “Hounds” is another Baggia-led beauty that illuminates.
“Torridon” comes in all lackadaisical-like until it’s not, developing into a solid track with peaks and valleys in terms of tone anchored by Keisch’s unwavering hits and then “Electrify” does just that with a solid four minutes and change of robust Post-Rawk awesomeness that swims in the same deep waters as you as Baggia’s voice elevates it all. “Antigua” is the penultimate comedown highlighting Baggia’s range along with Emerson’s multi-faceted guitar onslaught leading toward “Last Song” which screeches its’ way into a surprisingly loud conclusion and one that fits The Shallows aesthetic perfectly