Album Review: Whitney - 'SPARK'
Focussing on relationships gone by and the benefits and turmoils that change can bring about within them, Chicago duo Whitney’s third album ‘SPARK’ brings about a new mood as they shift away from their previous folk-fuelled tracks, merging into an unexpected, exciting, new sound.
Since the success of tracks like ‘Valleys (My Love)’, Julien Ehlrich and Max Kakacek, better known as Whitney, had a crossroads before them. To go down their usual route of indie-folk themed music, accompanied by their aesthetically appropriate Super 8 visuals, or to enter a new phase and challenge. ‘SPARK’ is the result of this choice, a brand new sound for Whitney that proves their innovation and creativity whole heartedly.
The drastic change in style is immediately apparent within opening track ‘NOTHING REMAINS’, a song that explores the sheer numbness that can occur after a heartbreak, and the uncertainty in both if and how they can move on from such a meaningful relationship others around them seem to (“Too much living broke me down / Nothing remains when you’re not around”). While ‘NOTHING REMAINS’ has rather heartbreaking lyrics, sonically, it’s extremely mellow and catchy. A recurring note from this album is Whitney’s ability to slip their melancholic lyricism into upbeat and exciting music.
Merging into a personal favourite, ‘BACK THEN’ comes from an almost thankful perspective. Speaking of two individuals whose lives revolved around one another and their relationship, finding comfort in the safety it provided during hard times, and the downfall as they left this dependent phase (“We found a way to live while the world was burning” and “Real life was caving in”). ‘BACK THEN’ is one of the more minimal tracks on the album, led primarily by sheet vocals and repeating hooks on the keys. The electronic drum beats are subtle and soft, something I honestly rarely find within this type of music.
‘SPARK’ also holds a sense of groove within it. ‘MEMORY’ continues Whitney’s trend of masking hard hitting subject matter within catchy music, something they seemingly have mastered on this album. ‘MEMORY’ speaks of the relatable fear of being left behind or forgotten by the world and loved ones, becoming a mere memory to them (“I can’t hide from bad dreams / Where I think I’m turning into a memory”). One thing to be said for Whitney’s new shift is Ehlrich and Kakacek’s ability to self-reflect. By looking within their own fears and unfortunate situations, they force their audience to search within themselves and seek out instances similar to the ones in this music. A fear of being left behind, reminiscing on a relationship fuelled by codependency and a fear of being alone, or simply wondering how you’ll get by without the person you just lost all results in a deep look within oneself.
Ehlrich and Kakacek also merge briefly into the loss of loved ones during the times of COVID-19. ‘TERMINAL’ holds mournful vocals and lyrics, talking of the loss of both family and friends and coming to terms with the need to move on within grief. As one of the slower songs on an album rich with upbeat melodies and catchy choruses, ‘TERMINAL’ calms the listener down for the closing of what may be Whitney’s most ambitious and, hopefully, successful album to date.
Whitney have successfully managed to step into a new chapter of their music. While some tracks stick closer to their roots, such as ‘HEART WILL BEAT’ and ‘TERMINAL’, Whitney’s new electronic fuelled sound suits them perfectly. Rich with the familiar lyricism and impressive vocals that have defined their music for so long, ‘SPARK’ successfully raises the bar for the duo, allowing them to release a new breath of fresh air within their music.
Words by Rae Garvey
