[rating=7.00]
Some records are so strikingly beautiful, they burrow into your consciousness from the first listen on. And when looking for obvious examples, one need only look to the band Darlingside, whose celestial, neo-pop sound is not only harrowing and haunting but also compelling in its own lush and tender way. Extralife, the follow up to the band’s well-received 2015 release, Birds Say, it continues to expand on the motif they mastered early on, a combination of chamber pop, baroque, Americana, and indie rock, all stirred into one tender and timeless mix.
While the subject matter alluded to in these songs is somewhat foreboding to say the least — one that explores a bleak world of the future in a post-apocalyptic age — the view of discord and upheaval is tempered by the lush melodies and soothing, sedate sound that punctuates every note overall. With its choir-like harmonies and lullaby-like cadence, Extralife comes across as warm, refined and wholly reassuring. While “Eschaton” and “Rita Hayworth” hint at some proggy quirks, and the sublime Beach Boys-like textures of “Lindisfarne” provides just a slight deviation from the norm, all the songs here — from the title track and “Singularity” to the uplifting closing anthem, “Best of the Best of Times” — are similarly subdued in their overall approach.
Granted, there is a certain sameness to the overall effort, but it’s hard to fault anything that’s so sweet and satisfying. Likewise, in today’s boisterous environs, one generally has to make a big noise simply. to get noticed. That doesn’t bode well for bands like Darlingside, whose use of subtlety and nuance are the tools they use to make their way. Nevertheless, those that are willing to dig in deep and celebrate in solitude will find due rewards. Darlingside is so serene and suggestive, it manages to linger long after those final serendipitous notes finally fade away.
