The Dears

Two years after the release of Gang of Losers, The Dears continue their legacy in the genre of experimental rock by effectively shifting the sound and feel of their new album, Missiles. Tackling the project under a short-time parameter resulted in a piece that was, in some ways, unpolished, giving way to more wayward creativity. This time, Murray Lightburn and Natalia Yanchak spearhead the album and produce some interesting results.

The opening track, “Disclaimer,” sets the stage for the rest of the album with ambient layers, a surreal guitar loop, and a soft saxophone solo that loses its typically sharp and commanding quality as it just breaks the surface of a bleary background. The album is characterized by sounds and melodies that draw listeners in with a certain peculiar yet enchanting quality.

“Money Babies,” perhaps the most upbeat and engaging song on the album, weaves together beautifully (if oddly) matched vocal harmonies that dance off in two different directions yet manage to reconvene without missing a step. Flange-filtered guitar riffs and a powerful bass-line drive the song through to its climax and an eventual fade.

“Lights Off” and “Crisis 1&2” are great examples of how the band manages to create an entire universe out of one song, allowing listeners to melt softly into another reality. “Lights Off” begins with gentle strumming that changes into a hypnotic interlude before taking off into some dreamy outer space. Its otherworldly quality, meandering guitar leads, and haunting vocals are reminiscent of a child stuck in a dream that teeters on the verge of nightmare (or perhaps it’s just indicative of the lunacy of sleep deprivation, as the lyrics might suggest).

The unique relay of vocal parts and creative harmonies of “Crisis 1&2” divert from any traditional form of storytelling in music. Instead, it splatters vibrant and incomplete meanings on a canvas that doesn’t relate a clear picture but creates a stimulating, abstract painting.

What makes this album so different is the juxtaposition of sounds that you wouldn’t necessarily expect to find within the same song. Additionally, the vocals and melodies often swerve in unpredictable, unexpected directions. However, the compositions as a whole absolutely work, despite (or because of) this. Missiles builds a beautiful world of sound filled with wistful emotions, reflective thoughts, and a lingering, ineffable quality.