Setili started the algae dust project as an exercise in improving her guitar playing and teaching herself to mix, working instinctively to build on ambiguous ideas that explore themes of “nostalgia, cyclical thought, and the importance of perspective.” Starting slow and subdued, ‘circular’ is a good introduction. “Well I’ve been walking circles in my mind,” Setili begins over gentle bedroom pop guitar. But it’s not long before the song sparks into something bigger, fellow Frankie Valet member Gram Tolish providing drums as the song crashes into life in its final third, transforming into something with considerable force.

This duality becomes a theme across the algae dust half of the album. Tracks that start soft and intimate find stormy peaks or refuse to settle into recognizable patterns, peaceful blue skies of songs like the patient instrumental ‘by the window’ sit next to grey rainclouds and agitated squalls of emotion, like ‘grasp’ with its constant percussion and whirring organ-like keys.

The hennen side sees Rainey work through feelings of heartbreak, isolation and self-sabotage using an iPhone and her distinctive brand of twee-tinged garage rock. It takes the Shady Bug formula (catchy hooks and knotted, unpredictable melodies) and strips things back, losing some of the sheer power of the full-band crescendo but gaining an intangible sense of the personal. There is perhaps more of a pop influence, which comes to the fore on tracks like closer ‘bothered’, sounding remarkably slick and streamlined with its electronics and yearning vocals.

There’s a definite sense these songs give Rainey space to experiment, allow her to venture into areas that perhaps wouldn’t fit Shady Bug. Tracks like ‘lizard’ shift between woozy bedroom pop and contemporary r&b, while ‘auto-pilot’ smothers strong vocal melodies in wobbly, underwater distortion. But that’s not to say there’s not a healthy dose of indie rock grit on display. ‘the hardest’ has a propulsive energy and satisfying rumble in its bones, while ‘zero expectations’ juxtaposes gentle vocals with blown-out distorted guitar. All in all it’s a consistently surprising and cohesive split, and one which feels right at home on the It Takes Time discography.

algae dust // hennen is out now and you can get it on cassette or download from the It Takes Time Records Bandcamp page.

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It’s the first actual record release on It Takes Time, and proves to be a watershed moment for both band and label. The blurb says the record “confronts both the clamour of youthful confusion and the stillness of nostalgia,” tracing the blueprint of their debut and taking it in completely new directions. “In other words,” the blurb goes on to describe, “it’s the sound of four friends growing together.”

While Stop apologizing was a record mostly written by Nelson and then brought to the group to flesh out, Waterfowl is a truly collaborative venture. It’s the sound of four people putting their heads and souls together to create something unique, a fact reflected in the eclecticism and unpredictability of the record. Take for instance the stripped-back opening of the pseudo-title track ‘Water foul’, just Setili’s vocals and subtle guitar and heaps of negative space, versus the song’s second half, which sees it transform into an emo-influenced rocker that wouldn’t look out of place on the last American Poetry Club record. This erratic nature is exacerbated as the song ricochets into the frenetic ‘Engulfed’, which barrels along at breakneck speed around deadpan vocals. It’s maybe the first straight-out rock song Frankie Valet have recorded, adding an as before unseen directness to their sound.

This proves to be another noticeable evolution for Frankie Valet. Compared to the nostalgic fuzz of Stop apologizing, Waterfowl‘s production is succinct and stripped-back, capturing the essence of their live show. Take the taut opening of ‘Our apartment’, the sparkly pop of ‘You found me out’ (which starts like a throwback pop tune, but slides into a rousing kick drum stomp), or the yell-along finale ‘Alright okay’, which feels like a definitive celebration of DIY community that’s over in barely over a minute.

But it’s the album’s mid-way point, ‘Soft Skin’, that feels like the most important moment. Setili once again takes vocal duties in a track that builds from a dreamy shuffle, stepping through a hidden doorway just before the minute mark in one of Frankie Valet’s signature tempo changes. It’s the song that that best illustrates both the past and present of Frankie Valet, and leaves us guessing as to their future direction.

Waterfowl is out now on It Takes Time Records. Get it via their Bandcamp or the Frankie Valet Bandcamp page.

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From the opening seconds of first song ‘good’ it’s clear that Jacques Limón intend to hold nothing back. Guitars squeal and drums smash with an energy that’s totally infectious. Above everything else it sounds like tons of fun, songs for remembering that your troubles aren’t really troubles at all.

And despite the fact the songs are crafted mostly from good ol’ fashioned rock ‘n roll elements, they’re continually fresh and surprising. Borrowing a little from all of indie rock’s sub-genres, there’s a little slacker rock and a dash of pop punk and more than a sprinkle of noisy garage rock. ‘Tracers’, for example is one of the more sedate songs on terms of volume and tempo, but it even as it sways through breezy slacker sections (“it’s so cool,” Ham sings, “to be cool”), it feels taut and ready to snap, chugging through verses like a roller coaster approaching the top of a drop, and you know there’s a snarl of guitar waiting as you hurtle to the bottom.

“I am a blood-soaked pacifist” Ham sings on ‘Salty’, the crunchy lead single that’s as joyously carefree as it is bullishly energetic. The song comes complete with a video by Dan Goedeker, which sees Ham find a secret stash of limes under a floorboard, and then transport from his room to a summertime creek, where he gets wet, goofs off with the limes and generally has fun.

Clocking in at barely over a minute, ‘Parachute’ feels more reserved, somehow muffled and held back, while ‘tick/little crisis’ sounds feisty and fearless, spikes of guitar and throaty vocals rising over the confident drum beat. That’s before finale ‘blue ii’ shreds its way to the close, layered guitars adding a psych-tinged edge to what’s otherwise a straight blast of rock ‘n roll.

Jacques Limón is out now and you can get it on cassette or download from the It Takes Time Records Bandcamp page.

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New album a little light of our own may well be the last by american poetry club, at least in its current form, as the band disperse after finishing college. But, despite the potential farewell album vibes, it seems like Weinstock and co. are intent on burning out as bright and pure as a sparkler, the songs infused with a collective energy that displays a real sense of community.

“If you think you are struggling alone just to be fine,” Weinstock sings in opener ‘in your own way, at your own pace, pulling through!’, “know that i am always right here next to you, I am always by your side.” It sets the tone for the album in more ways than one, direct and intense and at times painfully earnest, american poetry club go all out to say what they mean and mean what they say. Second track ‘as slow and vast as our love can take’ is equally short and direct, a ramshackle indie pop song that’s almost reminiscent of Emperor X. ‘summer of the century’ kicks up the tempo even further, a glorious pop punk singalong that ends with a plea to embrace and celebrate each other and ourselves as individuals.

what you feel is alright, don’t worry you burn bright
how you think is okay, please do this your own way

‘pro pic’ is the album’s standout moment, and in some ways feels like the song american poetry club have been buildings towards over these last few years. The balance between heart-on-sleeve emo and twee indie pop is just about perfect, as Weinstock and his friends sing (and sometimes yell) over shuffling drums and subtle horns. Thematically, it’s one of the more reflective songs on the album, our narrator reminded of a previously dear relationship/friendship by occasional glimpses of a social media profile picture.

‘hampton ave’ is the album’s most reserved moment, a quiet acoustic track that still maintains the purity of feeling of the other songs. It’s proof that american poetry club can do things stripped-back, and bodes well if Weinstock intends to play these songs solo if the band goes on hiatus.

Finale ‘snbm’ then takes everything that has come before, not just in this album but through the entire american poetry club catalogue, and distills it into just under three minutes. It begins hushed and spacious, just guitar and Weinstock’s voice, but grows into a swelling outro that based around a mantra for positivity and self-love. It’s a fitting end to both the album and american poetry club as a project.

no more low self-esteem
we’re gonna be all we dream
we are bursting at the seam
we are a brilliant sunbeam

a little light of our own is out now on It Takes Time Records and Feels So Reel Music, and available from the american poetry club Bandcamp page.

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The label say the album aims to explore “current issues like entitlement, the line between surreal and realism, and how to survive softly,” meaning that far from being throw-away observations, Kurlender’s easy pop jams and simply poetic diary-like lyrics have surprising depth.

The first single is the title track, a barely 60 second song that introduces the Marbling aesthetic perfectly. Subtle guitar and shuffling drums combine with Kurlender’s gentle vocals to make a short but very sweet pop song.

i had a dream about my wisdom teeth
and what you mean to me
you never came to my front door
i was just asleep…

Today we have the pleasure of unveiling a video for the song. Drawing inspiration from the breezy yet reflective tone of the track, the footage finds Kurlender out playing with friends yet pulled away by thoughts too, though the closing shots put peace to that. We think it was Chekhov who once said that if you introduce a cake onto a basketball court in the opening scene then the ball must bounce on said cake by the close of the video. Luckily, Marbling do not disappoint.

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The band fearlessly set out in the vast landscape of indie rock, foraging for ingredients in bedroom pop, Pavement-style slacker rock and fuzzy lo-fi, even straying into the realms of country when the feeling takes them. All that makes for an interesting and nourishing meal, at times laid-back and others energetic, smooth jams followed by chugging rockers.

Take opener ‘Leaning On’, a lazy slice of crunchy indie rock that draws heavily on Stephen Malkmus vibes before swinging into a softly infectious cooed chorus, O’Neill joined by Rainey and Maynard for the perfectly simple lines “ooh leaning on, leaning on yeah.” It’s a really good early example of how O’Neill uses the Ronnie Rogers project to curate a love letter to indie rock’s greatest hits.

In comparison, ‘Bummer’ feels more focused, built on a bed of subtle pop punk guitar, O’Neill’s weightless vocals floating around this central tether and giving the song an almost surreal, psych-tinged feel. Beginning with gentle acoustics, ‘Mantra’ soon develops into a restrained rock song, while ‘Carol’ growls and grumbles in a sub two minute burst a la LVL Up, and ‘So Bright’ draws on shoegaze with its honey-soft vocals and heart-fluttering chorus.

‘Staying Alive’ is another song that strongly recalls Silver Jews, O’Neill’s mumbled vocals tumbling out beneath lo-fi guitar that feels strangely close to that from a sincere Americana track, country rock from another dimension where chunky, fuzzed out rock is the music of pickup trucks and lonely plains.

“I don’t drink milk with tea,” O’Neill sings on closer ‘Yankee’, “I’m a Yankee boy now and I traded brill for catfish, you can’t set sail in the Midwest.” Sprightly indie pop that brings to mind the likes of Slaughter Beach Dog, it’s a song that proves that Ronnie Rogers will continue to shapeshift until the very end, making Denim Jacket Weather a varied and engrossing listen from start to finish.

Denim Jacket Weather is out now on cassette via It Takes Time Records and name-your-price download from the Ronnie Rogers Bandcamp page.

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“I have scars up and down my body from changing shape, as I learn to take up space”, Yacyshyn sings at the beginning of ‘museum of broken relationships’, which is a good introduction to the EP as a whole. The past leaves cuts and bruises, and they’ll always feel tender, but our narrator is summoning the strength to move on. As Yacyshyn describes, “[scabs is] a record about letting your wounds heal, and leaving behind the ones you no longer need!”

‘devil’s advocate/apathy’ is an intimate pop song that sees Yacyshyn put their heart firmly on their sleeve. “I’m so sick of crying,” the sings, “I don’t have any more in me.” ‘black crayon’ charts two people just a year apart, from teens to twenties, absence and nostalgia mingling in bittersweet indie pop. It’s a good example of how camp counselor combine painful angst and whimsical joy, a song about the death of old hopes and dreams ending on the line “the older I get I’m more comfortable using scissors.”

‘turning songs into rituals’ is a hushed bedroom pop song, complete with snippets of wisdom from Bob Ross, before closer ‘when it counted’ rounds things off with a quiet sense of gladness, Yacyshyn saying “thank you” to all of their loved ones. Its has a lot in common with fellow It Takes Time act American Poetry Club, the same combination of sadness and big-hearted hope in everyone around.

scabs is out now on It Takes Time Records and you can get it from Bandcamp on cassette and download.

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Jordan from the band (that’s him in the snazzy hat) was kind enough to speak with us about the record and american poetry club in general. Check out what he had to say below!

Hi Jordan, thanks for speaking to us! How is it to have your new album, we are beautiful, even when we are broken!, out in the wild?

Hey there! No problemo thanks fer taking the time to do this! It’s pretty wack I won’t lie haha. I’ve spent more time working on this album than any other musical project in my entire life, everything else I’ve ever done has been: write songs over 1 week period, record them in 1 take over the weekend, release it immediately after. So sitting down with each song for this long, and having friends like Jack and Felix (both of Frankie valet) and Evan (of Russel the Leaf) help me with recording and mixing and all that jazz and having my friends play all the instruments on em instead of like occasional parts and background vocals like the old stuff was something I really had to get used to. It was a good thing though! I’m so glad so many people I love got involved in this and helped me make something I couldn’t make on my own!

What can people expect from the new album? What does it sound like and what’s it about?

Emo! Kind of just discovered the genre this past January and went on a huge E!E! and JDV kick haha so it’s very clearly influenced by those vibes. Been a big fan of embracing my influences and cliches lately, not ashamed of where I’ve come from! It’s a lot about meeting and leaving people I guess! Just started my last year as an undergrad and have been thinking a lot about how small interactions and seemingly random relationships have defined my life over the past year and really trying hard to express my appreciation for how these actions and moments have shaped me.

How has american poetry club evolved since you started the project? To me, the new album is the most fully realised thing you’ve ever made. Would you agree with that? And where do you see the project heading in the future?

Would definitely agree with that, this is the first time we’ve recorded full band and outside of my phone haha, the biggest change is probably the fact that apc has gone from purely a recording experiment to my main creative endeavor. When I began apc it was just a place to put some songs I felt I had to write that didn’t fit in with my other band at the time, The Chair Enthusiasts, but then we broke up and I still needed to play tunes, so I slowly recruited some pals and put together a little act, which 100% altered the way I thought about what I wanted apc to be. No idea where we are headed! We wanna go country on our next album for sure, but who knows where life will take me and apc after graduation ya know? Planning on moving to China post-senior year right now so I guess it all depends on logistics!

You also run It Takes Time Records, which has been putting out solid release after solid release since 2015. How do you select artists to work with, and do you have anything exciting in the pipeline?

It’s pretty simple, we work with people we like! If yer our friend, or you make music we admire, that’s kind of the only criteria haha, we’re putting out Frankie valet and Camp Counselor soon (NOTE: the Frankie valet one is out NOW!), and potentially have plans to work with a band Ellis from Trust Fund has been playing in but to be honest we try not to work too far in advance, we just take it one release at a time.

Finally, could you name a few artists that you’re really into lately? They can be new or old, local or from the other side of the world. Bonus points for bands our readers might not be familiar with.

Doug Firebaugh! He’s a crazy talented cosmic americana songwriter from the 70’s, has a beautiful album called Performance One, also been jamming out to The Amazing and Incredible Randy (who as far as I know only has live video clips, check out All Night Diner), as well as Rob Apollo and motherbear! two of my favorite STL acts right now, Rob is a wordsmith with immense power and motherbear plays literally the most beautiful and evocative guitar music I’ve ever heard.

we are beautiful, even when we are broken! is out now and you can get it form the american poetry club Bandcamp page.

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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?”

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.

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

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Tracklisting:

Mike Pace and the Child Actors – Everyone Out of the Car
Miranda Winters – The Futuristic District
Exam Season – Strawberry Milk
Saccharine – Pumpkin Guts
Tuvaband – Wolfpack
Devon Welsh – Dreams Have Pushed You Around
Mending – Alan after the Fire
Reddening West – Even If
Valley Maker – Light on the Ground
The Washboard Abs – Return to You
Manatree – Brushfire
Miserable Chillers – Horse Opera
Saint Charles – She Don’t Wanna Know
new casino – going for a walk*
Frankie Valet – Why Blue
Goodbye Max – Old Photos
Adeline Hotel – Habits
Joe Kaplow – I Said I Was Going and I Went
Pecas – Tuesdays
Sun Kin – Neglect
Baby Cages – flowers
Crooked Spine – Skinned Knees
Lauren O’Connell – Out of Focus
Mount Goldie – Summer
Harvey Trisdale – Baby
american poetry club – the sum of your parts
Babehoven – Out of the Country
Adam Arcuragi – Low Parade Rain
Jason Bemis Lawrence – Southern Midwest
Campdogzz – Sorceress
Barfoot – A Thin Place Between Worlds

* not on Playmoss

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