Alternative rock quintet Local Natives released their third full length LP, “Sunlit Youth,” earlier this month to an eager fan base, following up their 2013 release “Hummingbird”, a driving sophomore endeavor that established the group’s artistry within the realm of indie music.
On “Sunlit Youth” we are given a dozen colorful, dream-laced indie pop anthems that can be danced or cried to, depending on how your day went. It’s a solid record but doesn’t deliver in a few areas in which I thought Local Natives’ had outdone themselves in previous releases.
First off, this is the most Local Natives album that the band has ever written, and I’m not sure if that’s good or bad. Their songwriting is excessively and exorbitantly emotional; all the tracks continue to be about human relationships either failing or recovering. It’s melodrama, albeit catchy melodrama, which is a lot better than just melodrama.
Lyrically, the album falls short. While “Hummingbird” illustrates similar emotional themes, there was much more depth to the songs. The last album was produced by Aaron Dessner of the group The National, who crafted a spacious sonic atmosphere to amplify Taylor Rice’s rose-tinted lyrics. Unfortunately Rice’s lyrics haven’t grown a day since 2013.
Right off the bat you can tell “Sunlit Youth” was recorded differently. The instruments are weighted, powerful and ready to be heard. Guitars, keys, claps, chants, and drums all fluidly weave in and out of the mix. This album is full of luscious grooves, which is a surprise considering the sporadic promotional singles released over the summer.
Tracks like “Jellyfish” and “Dark Days” are bouncy, ambient lullabies that will take ages to grow tired of. “Coins” and “Masters” are more acoustic cuts that feel similar but flip the groove for more urgent, clap-your-hands kind of qualities. I really enjoyed the emotional dissonance paired with the upbeat dance vibe: songs are allowed to feel happy and sad simultaneously.
The rhythms are less complex now but still propulsive. If Local Natives wanted songs to get crowds moving they definitely succeeded. Rice’s voice is more layered and textured this time, which compliments his wide range and falsetto hooks. “Past Lives”, one of the more dynamic tracks on the album, is a perfect example of this.
Additionally the newfound synthesizers make “Sunlit Youth” sound less organic than “Hummingbird”, though not in a completely negative way. If anything, Local Natives’ new toys help refine the album’s overall sound. It’s never overdone and reminds listeners of how the album was written to be.
I like these songs more as a collection of individual tracks rather than a full length, cohesive work. It’s hard to listen all the way through just because the tone and lyrics are so resolute, but most songs can stand alone just fine. It’s a record I find myself getting through weekly, but hardly listening to per day.
“Sunlit Youth” is good, but it’s too safe for me. It’s an album that features only what Local Natives already knew how to do, and in some ways is just a dancier “Hummingbird”. But that’s not totally a bad thing. With that said, if you ever find yourself introspecting at a sunset lake with a few rocks to skip, this album might just do the trick.
Audrin Baghaie is a culture reporter and album reviewer for the Daily Lobo. He can be reached at culture@dailylobo.com or on Twitter @AudrinTheOdd.
Get content from The Daily Lobo delivered to your inbox
