The outfit can play the pop game with great aplomb, as the hooky riffs and consistent kick drum of standout single “Number One” and “The Winning Side” attest. However, they can also get down into some dirty, dirty blues riffs (“Two Guns,” “Keys to the Kingdom”) and low-slung, gritty rock (“Blacked Out Windows”). When they bring their pop chops to bear on those muddy, murky influences, things get seriously interesting: the title track grooves hard but also has that warm glow throughout which keeps things in the pop realm.
It’s tough to keep things in the “top down, wind-in-my-hair” mode when the lyrics are so seething with bitterness towards ruined economies at the hands of the rich & powerful, but they manage the balance. From the down-and-out vignettes of opener “Number One” to the religious imagery of “Let the Love Go Down” to the apocalyptic sketch of acoustic closer “Plow Song,” every song is an economic protest in one way or another. (I don’t usually put a lot of stock in album titles, but this one is perfectly named.) If you wish that The Black Keys had gotten grittier instead of going stadium-rock on us, The Sideshow Tragedy will perk you up. If you’re into protest music that can get your adrenaline pumping, you’ll be all over this, too.
Second-wave/late ’90s-early ’00s emo can occasionally (rightly) be associated with uncharitable, uninviting navel-gazing, but Football, Etc.‘s Disappear EP transcends the worst of the stigma by keeping a dreamy pop sensibility firmly in view.
The four-song set shows off the hallmarks of the genre–gauzy guitars, twinkly melodies, drums reminiscent of punk, tidy arrangements, small number of musicians–without lapsing into homage or parody. The fact that you can hum along with “Sunday” points to an important aspect of their pop-music ethos; the fact that the EP opens with Lindsay Minton’s voice on “Sunday” points even more strongly in that direction.
Yes, there are some chilled-out tunes that focus more squarely on the lyrics, which some may not like. But the melodies and the mood make it very worth it for me. If you’re into dream-pop or the emo revival, sign up with Football, Etc.
Laura Joy‘s Between Our Words is a light, airy, sun-dappled collection of acoustic songs. Joy takes a singer/songwriter’s introspective approach to lyrics, but the bouncy bass of “Takes a While” and cheery organ of “Phoenix” keep things from feeling too cloistered. Those two songs in particular should be played outside on a walk in the park during a mid-’70s cloudless day. “Courting Disaster” is an acoustic pop tune that is potentially the perkiest cut ever to have “disaster” in the title.
Joy’s unaffected, straightforward voice helps create the unassuming air as well: throughout the five songs, Joy sounds down-to-earth and approachable due to a pleasant eschewing of vocal theatrics. Even when things do get a little more dramatic in the fingerpicked title track and troubadour-esque “Moving On,” Joy still situates herself in vocal and instrumental arrangements that don’t go for huge sweeps and maximum catharsis. Instead, she writes comfortable, relatable, small songs. It’s a refreshing turn to hear things not need to be pushed to their brim. Laura Joy’s Between Our Words is a quiet, light EP that makes an outsized mark for its weight.