Microwave - ‘Let's Start Degeneracy’ review
Microwave
This Friday, Microwave, the genre-blending trio from Woodstock, Georgia, unleashes their fourth studio album, Let's Start Degeneracy, via Pure Noise Records. Since forming in 2012, Microwave has rapidly evolved and their sound has ambitiously sprawled across new-wave, psychedelic, ambient pop, pop-punk, emo, and even R&B, drawing noticeable inspiration from iconic bands like Sublime.
In 2022, the anticipation for new material began to build with the release of singles "Circling The Drain" and "Straw Hat," followed by "Ferrari" in 2023. Each track showcased a band not only refining their sound but also pushing the boundaries of their musical expression. The release of "Bored Of Being Sad" alongside the album announcement confirmed that Microwave was ready to invite listeners into a new era of their creativity. Let's Start Degeneracy marks Microwave's first full-length album since 2019 and promises to be a culmination of their bold experiments in sound and genre. We dive deep into what promises to be a significant chapter in the band’s journey, revealing an ensemble that has never shied away from musical growth or complexity.
“Portals” opens the album with “Softly and Tender”, a hymn written by Will L. Thompson in the 1880s, beautifully sung by Blaire Robinson, Nathans Hardy’s partner. “Ferrari,” a melancholy and lyrically deep song, “I’ve been out blurring the lines between freelance and unemployed”, layered with delicate synths over it. While it’s short, the song's impact has a long-lasting effect. “Circling The Drain” is where the Sublime influence comes in, the laid-back guitar notes on an acoustic guitar, matched with Hardy’s unpredictable vocals, the switch between soft vocals to a more heavy vocal delivery during the chorus.
“Bored of Being Sad” is proof that Microwave is a band with a lot of introspection, “And I’m bored of being sad / It’s not cool anymore/ It’s old, and I’m bored / I created this hell / I’ve got no one to blame but myself”, with a catchy chorus, the band never fails to deliver songs with even catchier lyrics. Compared to the former songs, the song's tempo is high, and Hardy’s voice is the show's star. During the second verse, the hard truth comes out, as they state, “how the idea of 'sadness' has been romanticized instead of being treated as something to resolve.” the band shows the self-awareness they have gotten over the past few years. “LSD” is the title track and has a much more funky sound. The bass, with the sonically driven production, is a pleasing track. It’s a stand-out song for the whole band because while it’s very bass-focused, Timothy “Tito” Pittard commands attention with his drums, much like on “Ferrari”; it’s all about timing. “Omni” may be one of the poppier songs on the album, but it’s pleasing.
“Strangers” leans on the grungier side, mixed with some psychedelic undertones. It does feel a bit drawn out, but they are trying something, and that’s only fair. Because we glide into “Concertito in G Major,” the pendulum track serves as an interlude, which is also very pretty, and the added sounds of someone singing in the shower are a fun take on an interlude. The album is full of enlightenment, letting go of bad habits, and learning to be happy and care for oneself. I find the closing track, “Huperzine Dreams,” interesting. The lo-fi, r’n’b vibes, mixed with the softer piano keys, has one hooked, but it falls flat for a closing track and single. But that’s fine, considering the album is stacked with solid songs that carry it.
The wide range of musical elements heard on Let’s Start Degeneracy makes up for the five years of absence. With track after track, Let’s Start Degeneracy, Microwave continues to have a refreshing sound and embraces different experimental sounds to attract new fans while pleasing loyal fans. Overall, the album is excellent. Microwave have capsulized growing, and they aren’t wasting their time showing off what they discovered on their journey of self-exploration.
Let’s Start Degeneracy from Microwave is out 26 April via Pure Noise Records and available on all good streaming platforms.
