Although BlackieBlueBird might wield the regular instruments of the pop and rock world, plus the more rootsy sounds of the folk fraternity, the way that they use these to forge their music lends itself more to the classical and symphonic world. Theirs is a place of the deft layering of tones and textures, the interlocking of delicate sounds, the dovetailing of fragile sonics, and all this, when layered one upon the other, creates a gorgeous platform of supple understatement and subtle restraint.
Now, if you’re looking for a reference point, I’d say they’re like the Mazzy Star of their generation. You know, that bittersweet sound, alt-rock feels dark vibes and soul-searching lyrics. And just like Mazzy Star, the icing on the cake is the ethereal ’60s chamber-pop vocals from Heidi Lindahl.
Take a song like “Mesmerized.” It starts with a nod to jangle-pop, but instead of cranking up the cheerfulness, they blend mournful strings with a downbeat delivery. It’s like they’re strolling down a path between gothic urges and disarming balladic pop. Then there’s “I Can’t Stop Drinking About You.” It flips the script and delivers an alcohol-soaked, damaged tale with a perky yet poised alt-pop vibe. But “Tired Hangs The Head” is where they fully embrace their darker side, diving headfirst into those gothic sentiments that you knew were lurking just beneath the surface.
And when they wrap it all up with “Snowwhite Swan,” it’s like a fantastic folk masterpiece, filled with eerie steel pedal guitars, circular acoustic riffs, and spacious beats. It’s a darkly beautiful way to end the journey.
This album is a fantastic ride through multiple sonic territories – underground pop, gentle gothic realms, torch songs, symphonic creations, fractured alternative rock, apocalyptic country, and fragile folk. But you know what’s really great? Instead of sticking to one sound, BlackieBlueBird mixes, matches, melds, and moulds all these elements into their own unique, signature sound. And it’s nothing short of glorious.
