Graveyard Club - Moonflower

Eine tanzbare, aber auch melancholische Melange aus New Order und The Cure ab Mitte bis Ende der 80er Jahre - das ist es, was mir bei „Moonflower“ in den Sinn kommt. Dafür müssten sich doch viel mehr Menschen begeistern lassen können, oder? Wo sind denn die Menschen mit gutem Geschmack, die The Pains Of Being Pure At Heart oder Shout Out Louds lieben? Versucht es doch bitte einmal mit Graveyard Club!

 

Das Quartett aus Minneapolis besteht aus Matthew Schufman (Gesang, Synthesizer), Michael Wojtalewicz (Gitarre), Cory Jacobs (Schlagzeug) und Amanda Zimmerman (Bass, Gesang) und musiziert seit 2013 gemeinsam, da sie „a shared love of 50’s crooners, sci-fi novels, John Hughes films, and 80’s pop music” zusammenbrachte. Mit „Nightingale“ (2014), „Cellar Door“ (2016) und „Goodnight Paradise“ (2019) waren bisher drei Alben selbst veröffentlicht wurden, nun folgt mit „Moonflower“ Nummer vier. Während der Pandemie fanden die Aufnahmen größtenteils getrennt voneinander im jeweiligen Zuhause der Bandmitglieder statt. Bei der Produktion und beim finalen Abmischen wurden sie dann von Andy Thompson (Belle & Sebastian, Taylor Swift), der schon in die Entstehung der beiden Vorgänger involviert war, und Beau Sorenson (Death Cab For Cutie, Bob Mould, Superchunk) unterstützt. 

Die Schallplatte (Transparent/Splatter Vinyl) ist via Bandcamp vorbestellbar, erscheint aber erst im Februar 2023.

 

The album opens with single “Nowhere”, a track that hits too close to home regarding the futility of relationships and trying to live life at the same pace as those around us. But this is wrapped in the soothing fabric of anthemic indie-pop.

“Rose Vine” carries a similar energy and cadence to “It Hurts”, quickly elevating it to an instant hit. There’s plenty of guitar presence here, as well as lush harmonies strewn about like candy at a parade. The ending pulls everything together nicely, and the lyrics aren’t anything to gloss over, either. (…)

Richie Valens was the inspiration for “Valens”, a track that seems to be about living life to the fullest in light of the potential to die young. “If you’re gonna go, go all the way,” the band chants. But there’s still this overpowering sense of futility as the track ends with a sentiment of being forgotten. This is one of the darkest realities of materialism and nihilism: within a few generations, no one will remember you. Maybe someone with a fascination for history will find you in the family tree. But for most, you’ll be a nameless phantom despite your efforts in the here and now. While this is bleak, it’s important to show the logical end of a system of thought.

I’m guessing “Spirit Boy” is some sort of reference to a book or movie (I’m not well-read or well-viewed enough to specifically know which), but the reference to cheerleaders in grey and a conversation with a ghost feel too specific to be coincidental. Nonetheless, it’s a very visually-striking track.

“Broken Wide Open” carries a bit of a classic surf vibe which covers sentiments of deep depression. The end switches things open instrumentally, pairing emotional haze with introspective lyrics. Guitars become more melodic. Vocal tags echo and wash over like incoming waves. While the front part of the track isn’t necessarily the most compelling, the latter part redeems things nicely.

The album approaches its close with the explosive “Halloween”, one of the fastest and busiest tracks. Guitar is buzzy, harmonies are stacked, synths roar, and the result is a bit of a chaotic dance party. This is the kind of song that would actually work well as an instrumental, and it shows a side of Graveyard Club that doesn’t surface too often. More of this, please.

(I Am Tuned Up)