★★★★☆
Whether audiences know Finn Wolfhard from his acting or his more niche internet history, there is no doubt that you have heard some form of his music- or at least his vocals on some of his older covers of Weezer. Since his early career, the actor has gradually transitioned into a musician. From his early start in the band Calpurnia to his debut album ‘Happy Birthday’, he has had his feet firmly planted in the indie world for quite some time.
With two of the singles, ‘I’ll Let You Finish’ and ‘Tunnels’, previously released, the album 'Fire From The Hip' has an additional 10 tracks, beginning with the aforementioned 'I'll Let You Finish' and concluding with ‘The Climb (Not That One)’. Assuming a lack of range from a smaller track list would be a disservice to this album. Throughout each track, you see an evolution, from folk to rock of the '60s and '70s, and a little bit of a country twang. The album encapsulates an identity of its own, undefined by a singular genre.
Following the album track list, ‘Common Side Effects’ tails off from the album's striking introduction of ‘I’ll Let You Finish’, and instantly sets a funkier tone, on par with the ironic lyricism it exhibits. It offers a commentary on the mundanity of everyday life paired with the side effects of traditional antidepressants, plus a myriad of pop culture references. The song concludes with a half-hearted shout declaring “I feel better”
After this, there's a slight whiplash: solemn and slow strings with a country twang; ‘Lights Go Down’ is a down-on-your-luck reality hit with sobering lyrics. The album continues to flow into ‘Follow’, a love song dedicated to chasing that connection no matter what may happen. Reminiscent of the romantic era of The Cure and The Smashing Pumpkins, the song remains true to Wolfhard's established sound but feels somewhat goth-Britpop.
Coming off of ‘Follow’, we are reintroduced to ‘Tunnels’, which fits perfectly into the soft rock vibe of the album and remains true to its introspective nature, once again sharing intimate insight into the romantic life of the artist.
Entering into the indie-folk aspect of the album, ‘Trail' has an instrumental that is soft and playful. Although not completely traditional folk, it is reminiscent of Kimya Dawson and the anti-folk genre as a whole. With hallmarks of anti-folk, such as satirical and humorous lyrics, are a continuous thread throughout Wolfhard's writing and emphasises the youth experience of the album. In fact, this may be the defining component that weaves each part together, making it such a solid piece of work.
Though Wolfhard is clearly exemplary within his field of indie music, he has slowly been pivoting towards classic rock with his last few releases, which is especially evident in this album with singles ‘Crater’ and ‘Oscilloscope’. The former is a heavier piece, focusing on a grungier guitar sound. The alternative rock aspect is similar to early Hole, most especially their song ‘Malibu’, heard in the softer string intro and the chorus. The latter of the two, ‘Oscilloscope’, is exactly as the title describes; it is electric in its nature and very high energy. This is probably one of the most electronic rock sounds on the album, while most others are more acoustic.
Though the entirety of the album is an intimate insight into the workings of his mind, a further vulnerability is shown with a series of delicate and intrinsic melodies of love. ‘Maggie’ is another deep look into connection seen frequently throughout the album. There is a cheekiness to his approach in his lyrical interactions with the figure of “Maggie” and a reluctance to take it completely seriously. The instrumental, much like the rest of the album, is consistently brighter than the lyrics, once again touching on that anti-folk genre.
The longest song on the album is one dedicated to past love, expressing a need to be grounded by a person long gone and, in turn, the relief of encountering them again. ‘Nice To Meet You Again’ is a contemplative, fresh-sounding track filled with percussion and piano.
The refreshing song ‘Good Morning’ is similar to a noughties rom-com soundtrack, describing the small moments between two lovers. Muffled vocals with a complementary instrumental means comfort oozes from the mood it sets.
One of the standout qualities of this album is its storytelling, social commentary and connection to youth culture. In ‘The Climb (Not That One)’, Wolfhard tells the story of a young man being influenced by toxic male culture, becoming stubborn and wasting his time. Eventually, this behaviour leads to Wolfhard losing this friend. Clearly a cautionary tale, the song is backed by yet another country-twanged instrumental paired with lulling vocals, contributing to the feeling of loss and disappointment in someone.
Undoubtedly, this album is proof of Wolfhard's authenticity as an artist, pushing the boundaries of emotion and his own limits. 'Fire From The Hip' is due to be released on Friday 10th July.
Kelsey Catherine Walker
Image: ‘Fire From The Hip’ Official Album Cover
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