by Steve Ciccarelli, edited by Erik van Rheenen
No matter what we do, time marches on. Days pass, things change, and hoping for anything to the contrary is a dead end. But acceptance: that’s what opens the doors of possibility. And on Reverie Lagoon: Music For Escapism Only Seahaven goes through each of those doors searching for some kind of completion and find it to varying degrees. As with all good stories though, this one is more about the journey than the destination.
Is a good story always what fans are looking for? Beginning the album with a slow-moving haunter like “Fifty-Four” is just the shock to the system that people looking for manic pace and guitar crunch aren’t expecting. This is the kind of song that has been hiding away in the band’s subconscious, influencing parts of their own material. Here it’s the opposite of a call to arms, instead a plea to look inward. “Andreas” is a grower, the kind of song that will cause one of those inadvertent head bobs that we all catch ourselves doing sometimes. It’s kind of relaxing in the way some early Death Cab is: you’re invested, but more comforted than alarmed.
“Silhouette (Latin Skin)” is strong in the 90s alt-rock department. Guitars act as the rhythm layer while all of the hook and dynamic comes from drums, bass and that Smashing Pumpkins-esque string section. “Wild West Selfishness” builds on its infectious guitar part with effect-laden drums and a melody that goes from miserable to hopeful and takes you with it. It moves deliberately until you’re caught off guard with a good old Seahaven crushing ending. Then “On the Floor” begins. It’s another change of pace, another sleight of hand and that makes the beautiful, echo-soaked guitar and vocal that much more effective. There’s nothing for Kyle Soto to hide behind here and he’s all on display. It’s a highlight, for sure.