As the album ends you might find yourself deeply slouched in your chair, heel of hand on head, staring into the middle distance. An interesting track, but considering the subject and the conceit of layering in voicemails, a bit of a downer.
So you might go back to the first track thinking the whole album wasn't so sad right? You notice it's "Waking Up Crying." Huh. You play it, and yeah, waking up crying, but it's certainly more up-tone. These first few tracks showcase the locus I click with in Bones' music—an '80s/'90s indie pop deal somewhere between the Cranberries and Rilo Kiley. Around "That's All," she starts to sneak in her country twang, adding a pop/country mix at approx. the inverse ratio of our dear Shania, and rounding out the overall vibe.
"Taking Up Space" is the big energy track, something that would find a good home as a set-opener, or in this case, music video. It also stands at the album's inflection point. The album's back half is particularly textured and interesting. "Ravine" introduces a smooth sax, "Bad Time" has a duet with some goofy elements, "Dolly" amps up the country vibe, "Bad Trick" the '90s, to just rattle off a few. All the while, she's ramping up emotion from "Taking Up Space," until you find yourself back at the end of "Bug Life." Your general posture is the same, but everything fits a little better.
Welcome, to my shit show everybody. I bet this isn't what you thought you were getting into tonight. Now it's too late. You're alrеady here.
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