I discovered Speak Low If You Speak Love at the 8123 Fest last year that The Maine put on to celebrate their 10 year anniversary as a band. It was started by Ryan Scott Graham, the bassist/backing-vocalist of State Champs, as a side project, and Nearsighted is the group's second album. The first album, Everything But What You Need, was released in 2013 (rereleased in 2015) and was much more acoustic oriented.
I remember listening to the first single, "Enough" and finding myself much more intrigued than I had previously been. Gone was the raw, acoustic vibe, and here was a dark, pulsing tune that almost made me double check it was the same group. Different instruments attack at different points, highlighting themselves without drowning the others out, all laying the groundwork for Graham's vocals. He shows his ability to front a band as opposed to the more singular sound of the band's debut. It's much more layered, much more electronically influenced, than the previous releases before (as well as a groovin bass line).
The other singles, "Contrasting Colors" and "Safety Net", revealed the way in which this album was going to be diverse. "Contrasting Colors" feels more like what the group has done before, acoustic guitar and vocals, with a bit more polished production and sound quality than previously. The other big difference is the sense of layering, subtle at times, that the group works into the song, and the way the instrumental unfolds about halfway through and picks up the urgency of the track. The drums, electric guitar, and xylophone/piano lines all add more depth to the track without drowning out the vocals, which are much more at the forefront than those of "Enough".
"Safety Net", on the other hand, delves further into the electronic realm while still retaining the signature vulnerability that Graham and Co. have cultivated in their music. The switch from the intro of piano and vocals to the adding of synths, electronic drums, and a ever-so-slight drop create a very different sound without altering the emotional center of the song - and that is very, very impressive. The small female vocal part is also very different for the group, and helps add more of an emphasis and uniqueness to the song.
When the rest of the album dropped, I'll confess it took me some time to properly listen to it. There was a couple other albums and songs from different artists that released at the same time, and since then, and it's made taking the time for this album more difficult than I expected. I think part of that stems from the softness and vulnerability of the album, as compared with the other music I'm currently listening to. When I finally did take that critical time to sit and listen and really delve into the sound Speak Low If You Speak Love creates, I did not feel as if any time had been wasted. It's definitely an album that you want to be intentional about listening to, because it has very subtle aspects and moments that demand your attention.
The album seems to waver between two main sounds - a lighter vulnerability, usually something that's still kind of romantic or just generally contemplative, or a darker vulnerability, which encompasses pent up anger or bitterness or sorrow for a person or relationship.
The starting track, "Have I Changed", serves as more of an introduction than a full song and utilizes the new electronic elements from the beginning. It falls very much in the vein of The 1975; atmospheric electronics and a syrupy motion slowly give way to an almost southern-sounding guitar line and a more earthy, rooted tone that differentiates the band from a lot of the The 1975 knock off groups that have sprung up. The harmonies on this song are also a highlight - a preview of something to be repeated throughout the record.
"Ever Yours", while being bittersweet when you listen to the lyrics, still falls more into the upbeat category just because of the way the instrumental carries the pace. The guitar and drums trade off providing the necessary background for the vocals, which are very much the focus of this track. Especially during the chorus, the instrumental backs off even more and the vocals solo in their simple melody that feels so memorable.
"Your Love It Runs" pulls back a little bit more than "Ever Yours", but still has a sense of urgency, even before the full band comes in. The intro of just vocals, acoustic picking, and a little synth is so beautiful in its vulnerability, and this is multiplied by the rest of the band entering the track. I absolutely love the horns (which come up again on my favorite song from the record); they add to the depth and soft sorrow the song already contains, and feels very much like they belong. The song does a good job of switching back and forth between the vocals and the instruments having the spotlight, giving it a sense of ebb and flow.
The further into the album, the more the songs feel like they grow softer and more intimate. It's similar to getting to know a person; the longer you listen, the deeper you delve into who they are. The more upbeat songs hang out near the front, and the mood and loudness dim as it plays out. Considering all the singles were pulled from the front end of the album, this makes sense; it's easier to draw people in with brighter songs than with something heavy, in terms of sound or content.
The second half of the album begins with "Hatsuyume", a slow building piece that brings to mind soft falling snow on a quiet forest scene. The synths and pads used for the background feel so distant, yet the acoustic guitar and vocals feel very close and personal, creating contrast and physical depth within the song. Even when the rest of the instruments come in, that sense of delicacy never leaves, and that's an impressive feat to be able to accomplish. I also really like the synth line used on the bridge - it's vastly different from what you might expect for the song but still works by providing contrast. The song feels a bit short, but I think that was an excellent choice. It leaves the listener wanting more and coming back for listen after listen.
"Circle Spinning" is the one oddity on the second half, being a bit more upbeat and driving in the instrumental. The sound reminds me a bit of This Wild Life, although a little more cheery than their last release was. The song is pretty straightforward - it's a good song, but lacks a special quality to really make it stand out among the other heavy hitters on the record.
"Cannot Have It All" switches back to the acoustic vibe, and actually sounds a lot like something you'd hear on their first album, Everything But What You Need. It does have a full instrumentation, but still has that raw, vulnerable sound that is what I associate with Speak Low the most. The horns also show up on this song, doing their magic yet again and creating a very different feeling than most acoustic music you might hear right now. The vocals are the best part of the song, with Graham showing vulnerability while denying the subject full access to his heart, soul, whatever it may be. The contrast and contradiction make each listen more and more intriguing.
"Mystery's Gone" is another song that feels a bit lackluster to me. I didn't quite identify with the lyrics, and the instrumental didn't captivate me in the same way as the other songs. I really enjoy certain parts of the song; the intro utilizes an unique drum rhythm with a sampled vocal line to create a cool sound, and the outro builds into a really powerful ending. Some of the most intense/impressive vocals come at the end of the song, but it's not enough to make the song something I want to come back to.
"Hold Me Now" is, without a doubt, my favorite song on the album. It is beautiful, a dreamy symphony of echoing vocals, subtle synths, a very clean guitar line, and those wonderful horns. The song never feels like its rushing; always being sure to spend just the right time on each note. The echoing effects on instruments and the vocal harmonies all help to make the song feel like the soundtrack for a dream. This song is the type of song to listen to late at night, when the world has fallen asleep and you are enjoying the peace and quiet that comes with the rest the world is experiencing.
"Swell" finishes out the album in a perfect way, highlighting the strengths of the band and the record. The intro of a beautifully played acoustic guitar line with Graham's vocals, the strength of the band and their ability to literally make the song swell and fall back to match the lyrics and concept of the track, the build and full realization of the power of the song. All of it is wonderful, and it was the best possible track to end the journey that this record. The climax is incredible in how it feels almost like it's going to spill over the edge and the parts might drown each other or the vocals out, yet they don't.
This album wasn't something that I could rush through a review. With most reviews, I can usually do it in one sitting, maybe two if I don't have enough time. This one took 4 or 5, between writing out notes about the album and then creating the review, which also ended up being a bit longer than I expected (thank you for sticking all the way through). I recommend this album highly, but I recommend you listen to it with intentionality; don't just put it on as background music. This is a record that demands your attention, demands you sit and focus on the words, the melodies, the feelings inspired by the tracks.
Rating: 4/5
Recommended: "Hold Me Now", "Swell", "Enough", "Hatsuyume"
Related: This Wild Life, A Will Away, State Champs
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