Immersing with soaring rock anthems and introspective psych-folk detours alike, Open Highway is the new album from Victims of the New Math, out on April 24th. Songwriter Thomas Young channels an audible love for ’60s garage rock and ’90s lo-fi within a sound that’s both hook-laden and emotionally resonant. Mastered by Guided By Voices producer Todd Tobias, the release is a stirring listening experience — from the power-pop blast of opener “Orange and Purple Skies” to the folk-rock ache of closer “The Golden Age.”
“Orange and Purple Skies” opens the album with an anthemic soaring. “I’ll be whatever you want me to tonight,” Young’s vocals let out, complemented by a steady backing guitar distortion, a sporadic twanging, and strumming acoustics. A wordless backing vocal punch lends to the infectious power-pop spell, which slows down seamlessly at mid-point before a re-invigorating send-off of fuzzy distortion. The ensuing “Apology Implied” unveils a more dazed, psych-friendly introspection. “I need to have my own thoughts, just not what you decide,” the vocals exude here, feeling like a contrast to the opener’s “I’ll be whatever you want,” smitten sense. Right away, with a strong opening one-two punch, the album captivates in its range of bursting rock charisma and hypnotic psychedelic intrigue.
Finding a middle ground between that brightly psychedelic vibrancy and sturdy power-pop/alt-rock cohesion, “We Can Talk About It” fondly resembles a cross between The Replacements and Matthew Sweet in its title-touting central hook and jangling guitar undercurrents. Likewise, “Open Highway” expands from acoustic-set “I’m free,” declarations into blaring organs and twangy guitars as vocals depict venturing into a “new horizon.” “It’s a new beginning, a new and brighter day,” Young’s vocals consume thereafter into the “it’s gonna be all right,” reassurances; the production excels in its escalations from lush folk contemplations into an impassioned rock outpouring with delectable guitar solos and cozy backing organs.
The second half of Open Highway continues to immerse with quality songwriting and a no-frills rock appeal. “And the waves are crashing down,” Young sings on the gripping “Crescent Sun,” lyrically signing to incoming change with the looming arrival of its namesake. The subsequent “What We Already Have” presents a harmonious rock appeal amidst lyrical perspectives on human desire and the nature of wanting — even whilst one may have all that they need. Open Highway consistently enamors in its combination of insightful lyricism and hooky melodic delights, and “What We Already Have” is another example of such.
The album concludes with two memorably emotive efforts. “Love Will Survive” emits a sense of loneliness as the sun sets and a solemn folk sound takes hold. “Everything that seemed to matter, gone away in rhythmic tatters,” a melancholic vocal feeling shows, lamenting on how “nothing seems to make sense anymore.” A brighter hope to “find our way,” sends chills as a glimmering textural element infuses within the acoustics into a perseverant “our love will survive,” ethos. Similarly, album finale “The Golden Age” reminds of the project’s dynamic tonal chops, once again impressing in its evolution from acoustic-ready folk into soaring rock heights. Open Highway is a gripping overall success, full of memorable songwriting, from Victims of the New Math.
