Bleachers, the self-titled fourth album by the alt sensation Bleachers, marks a significant evolution in the band’s sound and thematic exploration. Led by the multi-talented Jack Antonoff, whose influence in the contemporary music scene has been widely acclaimed, the new record delivers a compelling mix of nostalgia, longing, and introspection that resonates with listeners. Lyrically and sonically, it suggests a significant coming-of-age for the band.
By Ruby Brown
Since their debut album Strange Desire in 2014, the band has garnered a large following due to their electrifying live performances, infectious camaraderie, and collaborations with contemporary pop music icons such as Lana Del Rey, Taylor Swift, Lorde and St. Vincent. Their third album, Take The Sadness Out Of Saturday Night, released in 2021, further solidified their esteemed reputation, showcasing Antonoff’s immersive songwriting abilities. The timing of their newest musical endeavour is particularly significant for the band, coming a year after their collaboration with Lana Del Rey on the acclaimed album Did You Know That There’s a Tunnel Under Ocean Boulevard, featuring the track Margaret, dedicated to Antonoff’s wife.
With each new album, it seems we uncover another layer of Bleachers or, perhaps, delve deeper into Antonoff’s psyche. Themes of heartbreak, grief, and loss are unmistakably woven throughout their discography, yet with every release, there is also a glimpse of solace and hope. Their newest release is no exception.
Launching the album with I Am Right On Time, the nostalgic yet romantic and dreamy sound is evident from the start. Continuing on this beautifully evocative plane is Modern Girl, a buoyant anthem transporting listeners to late-night escapades with friends past and present, echoing influences from the late 80s sound of Dexy’s Midnight Runners, Talking Heads and Billy Joel. Jesus is Dead introduces a synth-pop ambiance to the record, adorned with subdued instrumentation and a soulful saxophone. The dry delivery of its candid lyrics juxtaposes against the track’s arrangement, eventually culminating in a triumphant crescendo.
Me Before You, another ode to Antonoff’s wife, Margaret Qualley, is soft, romantic, and endearing, offering insight into how love has changed Antonoff and the trajectory of his life. Alma Mater further weaves a tapestry of romantic nostalgia and melancholy, evoking memories of days gone by with references to specific places and previous lovers. Featuring the ethereal vocals of Lana Del Rey, a close friend and musical partner to Antonoff, the track not only highlights the band’s musical prowess and progression but also reaffirms their weighty impression on the surrounding music scene.
Tiny Moves again bursts with pop sensibility, exuding a carefree summer vibe that is both nostalgic and uplifting, before Isimo provides us a breath of fresh air and a brief departure from the vitality of the first half of the album. Unlike the nostalgia-laced songs of the first part, Isimo feels like a turning point, inviting listeners to look forward despite the grief and loss they may have endured in previous years. Perhaps this track speaks most to the idea of tribute living that Antonoff alluded to in the album’s origin. “It’s not regressive. If anything, it’s the opposite,” says Antonoff. “If anything, the concept of tribute living makes you want to fly into the future so hard, because someone else couldn’t.” This once again underscores Bleachers’ adeptness at crafting music with depth, nuance, and layers, a central theme that has permeated their work since coming on to the music scene.
A standout track on the album, Woke Up Today, channels the essence of The Beatles’ Rubber Soul. With subtle nods to The Beatles’ classic Ticket to Ride, the song explores themes of joy and love, echoing the timeless messages found in the legendary band’s music.
Perfectly encapsulating the album’s themes of self-reflection and an internal struggle with accepting the past whilst progressing with one’s future and self, Self Respect confronts the hard times we all encounter in our fast-paced lives. Sonically and lyrically, the song embodies the power within us to transform our pain and restriction into liberty and freedom. Again, a powerful sax solo interrupts the otherwise subdued track and evokes a taste of the delight that can come out of a prolonged time of bleakness and solitude.
Hey Joe, the shortest track on the album with a run time of just one minute fifty three seconds, represents another thematic turning point in the album, with the tracks there on out feeling more sombre, melancholic, and rooted in contemplations not so rose-tinted as the previous tracks. Laden with Bowie-esque vocals, Ordinary Heaven paints a heartfelt picture of the simplicities in life, that again paints a picture of the mundane simplicity that even revered artists such as Antonoff yearn for.
However, not every track within the second half of the record hits the mark perfectly. The Waiter feels like an experimental overstep, disrupting the album’s story, cohesion and alluded journey of self-acceptance with abrasive, auto-tuned vocals and an intentionally erratic production.
Despite its occasional experimental detours towards the end of the record, Bleachers delivers a poignant and introspective musical experience that is authentic, relatable and above-all: human. As Antonoff continues to push and influence the boundaries of the indie/alt scene, the album stands as a testament to his enduring creativity and unwavering commitment to artistic integrity. Through captivating storytelling and entrancing melodies, the self-titled album will undoubtedly leave an indelible mark on both long standing fans and newcomers alike, firmly establishing itself as a distinct release that perfectly portrays who Bleachers really are.
Bleachers will be released on 8 March 2024.