As fate would have it, my last review of daisybonesseems to have caught up with me. Don’t get me wrong, work still sucks and my friends still complain. But since then, the weather has bristled up, thus urging me and everyone else on Tumblr to toss on heavy flannels, drink jet-black coffee, and smoke our unfiltered, hand-rolled cigarettes to the rhythm of the cogs clattering inside our own pensive and defeatist minds. Not too sure why brisk weather is the catalyst for wonder but that’s how she goes, I guess.
So as I’m typing this I’m actively wondering where the name daisybones comes from.
A rich mix between delicate, floral, pleasantries and a mortal atmosphere makes for a sick band name. But I can only really connect the moniker to the term “lazy bones”. As far as daisybones’ latest record, “Gold”, is concerned, that association CANNOT be the case. From penning out the charts and lyrics to glossening up the mastered tracks, it’s clear that the querulous quartet spent a considerable amount of time revisiting all audible step necessary in delivering a bangin’, boppin’ record.
I feel obliged to warn you now that the first listen through the album is sure to infect you with riffs and melodies that you’ll be humming, tapping, and whistling casually. I know because I, too, have been afflicted with the bug. The guitar lines and ooh’s featured on tracks like “Choke”, “Drag”, and of course “Beautymark” are of such pristine character and quality that the listener just knows they’re witnessing melodic greatness. I’ve actually caught my leopard gecko singing along to a few tracks. This is also totally aside from the group’s hilarious and charming presentation of some of the falsetto parts live. The album’s notions of fun, energy, and cutting loose shine through the signature catchiness of the licks and choruses that daisybones is renown for.
What strikes me in particular is that, through introspective lyrical content, Gold makes itself as deep as it is fun. Lyrics like “I’m not scared of dying, I’m just scared of wishing I was dead”, and “I’m such a narcissist, I love the way I hate myself”, indicate complexes doused in self-reflection, introversion, and soul-searching. “Gold” has effectively made self-loathing and grappling with imminent mortality badass. Instrumental layering and mood-inducing production tactics, such as the spacey segments out of “Crush” and “Score” and using fleeting conversation as a sonic texture on the title track also showcase just how drastically daisybones’ style has matured. I mean, look, between the buildup midway through “Score”, the background vocals on the choruses to “Heave” and the streamlined use of half-steps in the hook to “Beautymark”, it’s very clear that the band’s musicianship and compositional diligence have evolved. A cohesive vibe is built in each song from seamless organic group synergy. There’s no shortage of evidence here, but from the 2:36 mark onward in “Lemondrop”, I could not be more certain of this claim. The small, quivering keyboard hues that DeLisle gracefully adds drove it home for me. With this in mind, Gold really is a marvelous take on the contemporary millennial experience of simply getting older. The essence of being lost, being hopeless, being both excited and winded, confident and scared, keeping youth in your attitude if not your body, finding joy in things that never get old and disappointment in things that do; all of these human concepts are given audible life with “Gold”. Daisybones with Sean and Zach at 37ft Productions toiled to make a solid f*cking album. What they’ve produced here is the soundtrack to growing up.