Indie folk pop trio Peggy Sue - named after the band's lead
singer Peggy Sue - is a culmination of '60s smoky stoner rock like
vintage Grace Slick of Jefferson Airplane fame and modern
folk braised soul in the ilk of Adele. The group's new recording
Acrobats integrates '60s pop with contemporary acoustic based
rock making for an aggregate that is both nostalgic in texture and
reflective of a burgeoning generation of club rock goers.
The seething guitar riffs in the underbelly of "Cut My Teeth"
are a recurring motif in the album showing up in "All We'll Keep"
and "Ruthie," both of which sit on an axel of spinning drumbeats.
The fuzzy guitar vibrations hugging the rumbling beats of "Song
And Dance" are fringed in gypsy accents comprised of jangling
tambourines. "Changed and Waiting" has an exotic complexion
bolstered by psychedelic swirls which turn into a spare sound in "Parking
Meter Blues" encircled in drowsy drumbeats slowly rotating around
chanting xylophone chimes. The freight train rhythm of "D.U.M.B.O."
is garnished in bluegrass frills of echoey guitar flails and a gospel-bent
in the vocals while the thumping beats of "There Always Was"
pillar the elastic swag of the lead vocals carving knolls along the
The jewel of the trove is "Funeral Beat" densely layered
in tribal beats and rumpled by throngs of haunting strings and springy
mandolin chords. The vocals have an inverted howl as though the screams
are coming from inside the soul as the verse reveal, "I know
you've got your demons / I've got mine
It's hard to breathe
with these words in my mouth / With your lips on my skin / Come gather
Lay me down and comfort me."
Peggy Sue blends the familiar sounds of '60s stoner rock with modern
rock pop sensibilities. Not quite ubiquitous and yet similar in melodic
tone to their influences, Peggy Sue straddles the line between nostalgia
and contemporary with regard and reverence for both.
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