Anticipation has been building for Stop apologizing, the debut album from St Louis’ Frankie valet. We’ve already brought you their recent double single, and an accompanying music video, and now the wait is over. The record is out in all its glory.
The album opens with one of the aforementioned singles, ‘Something to do with a mouth’, what we described previously as “like a purply-pink orb that morphs and melds across the four and half minute run-time, constantly shifting in perfectly fluid pop perfection.” And that last bit is important, because if there’s one thing you should take from this review it’s that Frankie Valet can write pop songs. Like, really well.
Which isn’t to say there’s anything formulaic about the sound. Rather, the band explore other styles through a pop lens. Take ‘April’ as an example, sounding almost like Parts & Labor if they had made shimmery pop, the track building towards a big bombastic chorus, all slapped drums and near-yelled vocals.
“I’ve been killing four years
waiting for this shit to fall in line
and when I find it’s all I wanted
will I give up again?”
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One of the standout aspects of the album is the way Frankie Valet alter the tempo within songs, like the way they slam on the brakes in ‘Holes in Your Story’, morphing from shoegazy pop to something slow and insular, or the pulse-quickening little pockets of acceleration that dot the aforementioned ‘something to do with a mouth’ like whitewater rapids in a river.
As we’ve described previously, lead single ‘Why blue’ is part throwback pop, part shoegazy indie rock, with an uncanny habit of finding tempo and melody when you least expect it. Just as things seem to settle into a somnambulant shuffle, driving drums kick in and the song rides a little eddy of energy to somewhere entirely new. The result is something equal parts fun and sad, twin emotions tied together in nostalgic fuzz.
‘Fall in 2’ pulls a similar trick, although perhaps a little more conventionally. The first two thirds are all sweet pop, the near-whispered vocals thick with a sense of infatuation, before giving way to a big crunchy finale. This atmosphere of devotion continues into ‘mint 2’; “This is so new,” they sing, “but I feel like I’ve known you for a thousand years,” over slinky surf pop and steady pounding percussion.
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The final proper song ‘Concert Pad’ feels like a dreamy oasis adrift at the end of Stop apologizing, pretty acoustic guitar and subtle vocals conjuring the most intimate atmosphere across any of the eight tracks. The effect is one of a soothing balm, welcome sedate relief after the frantic energy of the previous songs, and it’s a lovely way to round off the album.
Stop apologizing is out now on It Takes Time Records and you can get it via their Bandcamp, or digitally from the Frankie valet Bandcamp page.
Also – The band were kind enough to answer some questions about the album and their creative process. Check out their answers below!
Hi, thanks for speaking to us! You’ve just released your debut full-length, Stop apologizing. How does it feel to finally share it with everyone?
It feels like excited relief. It’s a good time capsule of what we’ve worked on for the past months, during times of turbulence and excitement and fear, as our lives are continuously shifting.
What can people expect from album?
I think there’s something for everyone, centered around lush production and simple songwriting. Some guitars and some keyboards and other goodies. All swirled together, it feels like uneasiness made still.
The album feels like an indie pop patchwork of lots of different styles and genres. What/who would you consider its biggest influences?
As far as songwriting goes, Felix was listening to a bunch of classic dream pop at the time. Cocteau Twins, slowdive, a lot of 4AD stuff. There’s also lots of new wave in this release but also undercurrents of ‘90s rock like Dinosaur Jr. and REM. Gram cites Radiohead as a big influence. Overall, it’s hard to pinpoint influences, because like you said, it’s a patchwork, and all of our experiences and perspectives came together on this album to make it what it is.
The lead vocalist swaps across the album’s eight tracks, so how does that work, and who writes the songs?
At this point, we try to write collaboratively as much as possible. This new record is a product of the beginning stages of that process; ‘April’ was written full band and Jack took lead for example. For another, our producer Pete asked Alison to sing ‘Concert Pad’ because her voice works well for the song. It often depends where the song originated. If someone came up with a melody and then brought it to practice then they generally get dibs on vocals, but if it originated via a jam then we usually talk about who is gonna sing. The next record will have more of an organic approach, similar to how ‘April’ was written.
You’re releasing the album via it takes time records, how did that partnership come about?
We’re good buds with Mickey and Jordan! Good kids.
Finally, would you be so kind as to name a few artists (say, 4 or 5) that you’ve been listening to lately?
Felix: Aphex Twin, The Jesus and Mary Chain, Staple Singers, Jeff Rosenstock, Prince, Ride
Gram: Castlebeat, Nai Palm, Cool American, Florist, Big Thief
Alison: Florist, Emily Yacina, Radiator Hospital, Corbin, Strange Ranger
Jack: Cool American, Illuminati Hotties, Strange Ranger, Ratboys, Sonic Youth