Wet Leg Live Up To The Hype on their debut album: a review

Wet Leg are especially gifted in transmitting chaotic uncertainty of attraction; see “Wet Sleep,” which balances ridicule like “What makes you think you’re good enough to think of me when you touch yourself?” with winking offers to come home and see Buffalo 66 on DVD. They are just as good at reflecting the effects of a rupture; look at “Ur Mum,” in which Tisdale declares, “When I think about who you have become, I feel sorry for your mom,” and leads the countdown to a shrill initial cry. In “I Don’t Wanna Go Out,” she beats herself up for self-destructive tendencies (“Now I’m almost 28, I’m still getting rid of a stupid face”), only to stay on the defensive when the former expresses a similar critique of “Oh no.” Far from being just a series of dramatic results, the album is a rich universe with deliberately erroneous characters. Wet Leg from time to time even drops the vigilance, both on the heartbroken “Loving You” and the caustic “Piece Of Shit”. And then – the grand finale of the album.

“Too Late Now” is a slow energy, dreamy, capricious and anthemic, which struggles with indecision in the face of a painful world. After its release last year, it proved that Wet Leg is much more versatile than the double deadlocks “Chaise Longue” and “Wet Dream” suggested. However, the song’s answer to life’s challenges – “I just need a foam bath to put me on a higher path” – is the line that has undoubtedly led some Wet Leg critics to decide that they are the indie-rock equivalent Pinterest -prepared embroidered pillow. Often the band was designed as a more basic and affordable entry into the wave of high-profile British guitar bands such as Dry Cleaning, Yard Act and Sports Team – a comparison they didn’t necessarily hinder using Fontaines DC / Squid / Black Midi producer Dan Carey on the main part their album. But they also hired legendary Alan Mulder to make the mix, emphasizing their connection to the enlightened time of the alt-rock canon. The Wet Leg album is much more than a trend breaker, positioning them as one of those artists gifted enough to surpass their moment, existing instead in continuum with the classics.

A big dose of ’60s pop music echoes in Wet Leg music: the claimed influences Ronettes and Jane Birkin, but also the fashions like Kinks and the British pop scene of the 90s that inspired them – like Pulp, Elastica and Blur , with their powerful hooks and offensive social commentary. Pioneers of classy post-punk, such as Slits and Delta 5, are in the mix, as well as descendants of dance rock such as Franz Ferdinand and LCD Soundsystem. The hidden pop genius of the kings of lazy rock Pavement, the mechanistic coolness of other high-speed lightning rods Strokes, the sister company of Jaima, the vibes of the B-52 new wave party, surf rock Pixies, a separate description of Courtney Barnett – all this and much more Wet footA dozen tracks. But it’s rare for a landmark to obscure the band’s own instantly honed identity, except perhaps when they borrow a guitar line from “The Man Who Sold The World”.

For a while I didn’t understand the extreme reactions to Wet Leg. On the one hand, the killers, who are so exacerbated by the band’s nocturnal success, seem to lack the opportunity to have fun. On the other hand, I, however, thought of the “Deckchair” as a fleeting lark and was surprised when the “Wet Foot” exploded so quickly. But last month on the stage of a mid-sized club in Columbus their melodic dynamism stood out. The sold-out crowd didn’t just react to “Chaise Longue” – they bounced to get after a quick hit, singing, dancing and smiling the way you don’t always get from loud bands. The album crystallizes this feeling by applying enough polish for the formidable talent and charisma of these women without undermining their home charm. Wet Leg don’t present themselves as an important band, but with such a magnetic album they become significant despite themselves. I hope they continue to anger their haters for a very long time.

Wet foot comes out 4/8 on Domino.

Other albums known this week:

• Father John Misty Chloe and the next 20th centurywhich we shall soon consider
• Jack White Fear of dawnthat too
• Sida Club of Broken Hearts
• Vince Staples Ramona Park broke my heart
• Grizzly member Daniel Rosen’s debut solo album You belong there
• Billy Woods & Preservation’s Ethiopians
• Teenage band Linda Lindas Growing
• Kae Bura The line is a curve
• Orville Peck’s BRONZE
• Camilla Cabello Family
• HEALTH DISCO4 :: PART II
• Girl Talk, Wiz Khalifa, Big KRIT, Smoke DZA Full judicial press
• Debut of the same name debut project Lorraine James “Regardless of the weather.”
• Lucia Second nature
• Calexico’s The spectator
• Oceanian Nothing is ever good
• Pendant Harp
• Scout deer Woodpecker
• Wet tuna Deformation is all on its own
• Renata Zeiger Picnic in the dark
• Romero Turn it on!
• John Vandersley’s first album as ORANGEPURPLEBEACH, г ЕЯЦЬ ч ~ б У г
• The Regrettes’ Next is the joy
• Pictoria Vark’s The parts I fear
• Michelle Willis Only one vote
• Vaccines The planet of youth
• Amara Apollo IVORY
• Inside Curse of the sun, weeping over the rain
• Annie Blackman All this
• BANKS coil
• Brushes Chapter
• Luxurious Pavement reprint Twilight Horror: Farewell, Horizontal
• У All everywhere and at once soundtrack
• Rosie Thomas Lullabies for Parents, Volume 1 EP
• Andy Partridge My unsuccessful authoring career is Volume 2 EP

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