10 Songs, 29 Minutes

EDITORS’ NOTES

Beverly formed during Frankie Rose’s 2013 tour when Rose expressed an interest in going back behind the drumset and her keyboardist, Drew Citron, played her the songs she’d been writing. But before Careers was even released, Rose returned to her solo work, turning Beverly into Citron’s solo project. However, for this one album the duo come together to imagine what Rose’s previous bands (Vivian Girls and Dum Dum Girls) might have sounded like with a stronger Breeders influence. As expected, the songs are hook-filled and sugar-sweet, with the lightweight harmonies of “Honey Do,” “Planet Birthday,” and “All the Things” creating a delicate buzz. For a touch of mood and dissonance, “Yale’s Life” trudges with a sense of gothic tragedy. “Ambular” returns to an uptempo pace, but with a motorik rhythm that makes for an exciting car-chase instrumental. That leads to “Out on a Ride,” where their Bangles-type pop harmonies get roughed up by the ’90s indie crowd. “Hong Kong Hotel” pushes the synths forth, while “Black and Grey” finishes with an atmospheric piece that recalls Faith-era Cure. 

EDITORS’ NOTES

Beverly formed during Frankie Rose’s 2013 tour when Rose expressed an interest in going back behind the drumset and her keyboardist, Drew Citron, played her the songs she’d been writing. But before Careers was even released, Rose returned to her solo work, turning Beverly into Citron’s solo project. However, for this one album the duo come together to imagine what Rose’s previous bands (Vivian Girls and Dum Dum Girls) might have sounded like with a stronger Breeders influence. As expected, the songs are hook-filled and sugar-sweet, with the lightweight harmonies of “Honey Do,” “Planet Birthday,” and “All the Things” creating a delicate buzz. For a touch of mood and dissonance, “Yale’s Life” trudges with a sense of gothic tragedy. “Ambular” returns to an uptempo pace, but with a motorik rhythm that makes for an exciting car-chase instrumental. That leads to “Out on a Ride,” where their Bangles-type pop harmonies get roughed up by the ’90s indie crowd. “Hong Kong Hotel” pushes the synths forth, while “Black and Grey” finishes with an atmospheric piece that recalls Faith-era Cure. 

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