DIIV's fourth studio album reminds us of the tricks we constantly fall for, as they double down on their version of shoegaze and dream-pop.
The Brooklyn band’s fourth studio album reminds us of the tricks we constantly fall for, and they double down on their version of shoegaze and dream-pop—which has always had a bit more darkness in its veins than that of their contemporaries., you’ll find a Web 1.0-style blog about conspiracies. Its scroll never seems to stop: images, GIFs, theories, platitudes like “the human race will go extinct,” placed next to Occult diagrams and alchemical equations.
DIIV’s version of shoegaze and dream-pop has always had a bit more darkness in its veins than that of their contemporaries. Recent albums by their peers from the Captured Tracks-fueled dream-pop of the 2010s—like Beach Fossils’s—are airier, sweeter and more nostalgic. But DIIV doubles down on their heaviness. Opener “In Amber” puts their muscular, hefty guitars at the forefront. After the first chorus, a guitar solo smacks down into the drums like a cresting wave.
Amorphous, pedal-heavy shoegaze is often not the genre best prepared to deal out political or social criticisms. The focus is rarely on the lyrics, but on how the words sound when cushioned in bed of delayed, reverbed, and fuzzed-up guitars. DIIV have always had more of a lyrical emphasis than the average shoegazers. 2016’soffers evocative images, like the dejected, “Stuck on the ground” and “wasted” “Brown Paper Bag.” But it makes its best case as a “political shoegaze” album through its tone.
Andy Steiner is a writer and musician. When he’s not reviewing albums, you can find him collecting ‘80s Rush merchandise. Follow him onMay 23, 2024 | 1:37pm
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