Salt Lake City-based band Indigo Waves fuse rock and electro-pop hookiness within introspective lyrical drives on their sophomore album Mirror, out on March 7th. An array of atmospheric synths and versatile guitar work complement themes of personal growth — and the passage of time, in particular. “This album is about looking back at the versions of ourselves we leave behind,” lead vocalist Austin Oestreich says. “It’s about questioning whether we’re moving forward or just reliving the past in different ways.”
“Visions” kickstarts the album with a strongly melodic, dynamic pull — spanning from suave bass-led intrigue to anthemic synth-pop heights. Quaint guitar strums arise during the climactic bridge, traversing seamlessly into radiant electronic textures and gleeful vocal passion during the rousing central hook. Indigo Waves consistently showcase a cohesive, hook-filled blend of rock, pop, and electronic realms — and “Visions” wastes no time in touting the project’s stylishly eclectic capabilities. The subsequent “Smith & Weston” continues the immersion, this time within a jangly pop bounciness and palpable lyrical yearning. The “I was just a boy / Why does it tear me apart?” ruminations on past trials convey a sense of lingering in the past, a theme that continues artfully throughout the album.
All throughout its 14 tracks, Mirror consumes in its blend of replay-ready structural ascents and emotional contemplation. Reminding fondly of Cut Copy, the invigorating “Daylight” dazzles with its bright synths and buzzing bass pairing, invoking a wintry ’80s nostalgia in its mid-point bridge. Meanwhile, “Hillside” returns the balanced assortment of acoustic guitar strums and soaring electronic elements, culminating in the memorable “you were all that I want,” refrain. The “she wore the clothes / you used to wear,” line further evokes the impact of echoes from the past, and their roles in personal evolution and striving to avoid familiar patterns.
A warming new-wave nostalgia is conjured on “Out The Door,” where a post-punk rhythmic pulse fuses with a caressing vocal twang. The plucky guitars intertwine beautifully with nocturnal synth adornments, as insightful lyrics reference the uncertainty of personal progress: “Half of where you’re supposed to be is / nothing close to where you’re going.” The ensuing “Tony Hawk Pro Skater” shifts gears into a peppy rock arsenal, embracing a punk-friendly glistening that would be a perfect fit for the game series’ legendary soundtracks.
A tender, dreamier spell takes hold throughout several of the album’s final tracks. “IBWUFY” melds lush acoustics and twinkling synths as vocals reassure “I’ll be waiting up for you,” — like a guiding light through a frightful night of reminiscing. “Reflections” provides a farewell foray into the bursting electro-pop aesthetic, appealing in its psych-ready space-pop production. Thereafter, the title track serves as a blissfully atmospheric finale, traversing with starry-eyed captivation as serene synth swells guide into a gentle concluding fade-out.
