By Brontë H. Lacsamana, Reporter
Album ReviewDream TalkStill CornersWrecking Light Records
DREAM pop is a genre of music that mixes alternative rock sensibilities with psychedelia.
Born in the 1980s in the fringes of the United Kingdom and the United States’ music scenes, it leans into an atmosphere of hazy, dimly lit streets and pulls the listener deep into dense sonic textures. Breathy vocals laden with effects whisper about the morning light on the backs of lush, guitar-heavy hooks.
Still Corners, a dream pop band formed by American multi-instrumentalist/producer Greg Hughes and British vocalist/keyboardist Tessa Murray in 2007, just released their sixth album on April 5, a solid addition to the genre.
The duo’s latest endeavor is Dream Talk, a straightforward definition of the vibe of their music. Equal parts trippy and exciting, as well as lo-fi and relaxing, it delivers more of the same, a comfort for dreampop fans.
Murray’s vocals in particular are as soft, seductive, and satisfying to the ears as ever. “Night falls and the morning comes,” she sings in the album’s first track, “Today is the Day.”
Here, her soothing vocals are accompanied by groovy guitars and bass and later some synths, resulting in a contemplative yet sultry track. It is a touch darker than standard, easy listening dream pop.
Next up is the more upbeat and melodic “The Dream” that has Murray singing a fast-paced, confusing story, her voice carried by fuzzy beats. “We’re in a dream, and maybe it’s a dream within a dream,” she sings.
“Faded Love” is the third track, falling back to a more relaxed pace. The bass steals the show here, tiptoeing amidst light keyboards and lovelorn vocals.
After a quick interlude, the fifth track, “Lose More Slowly,” continues with a cute arrangement. A three-note synth tune sparingly enters throughout the laidback song, and an easygoing guitar part turns heavy just as quick. It’s the type of track to cause foot-tapping all while fading in the background.
While “Secret World” is not much of a favorite, Hughes clearly plays around with the sonic design here. He makes use of chimes, small percussion, and electronic sounds, all while Murray sings of a voyeuristic mind.
The seventh song, “Let’s Make Up,” is just as playful, albeit slightly more guitar heavy. “Why don’t we try and make up? Dance the night away; let it take us,” she sings in this one. Its chill atmosphere creates a lull in the album.
“Crystal Blue” is more memorable, mimicking the peaceful underwater and the coming and going whoosh of waves. The vocals are soft and melancholy, accompanied by minimal melodies from the keyboard and guitar, perfect for pondering in bed as the mind wanders into deep waters.
The second to the last song is “The Ship,” driven forward by the dramatic opening notes of a violin, later receding to slow, steady beats and a fuzzy guitar solo. Coming from beneath the waves, Murray is now atop them, singing of being on a ship finding its way. “Where will we go?” the lyrics say.
Finally, “Turquoise Moon” comes in to close the album, as if dropping in from out the window to hush the listener to sleep. The vocals, breathy and sultry, talk of how the moon echoes from the sky into the mind, while the simple guitar and occasional synths calmly bid farewell.
In a world where the nostalgic genre of dream pop is refreshed anew by younger musicians, Still Corners keeps its comforting qualities intact. As the title hints, this album veers away from the psychedelic road trip style the band has done before and settles into a more restful place in the genre.
Dream Talk is out now on all streaming platforms.
