Sundodger, with Bigger Waves, originally released July 3rd but digitally released September 26th, delivers a full-length rock experience akin to a journey on the sea: at times smooth, at times choppy, and all the while echoing the grunge roots of the Seattle music scene. The group composes with repetitive instrumental lines and lyrics, creating an ebbing structure upon which to build dynamics and tension — analogous to the rhythmic nature of ocean waves. Their music incorporates a subtle presence of dissonance that tickles a Foo Fighters funny bone for those craving a sound with a bite.
The album opener, “Too Much Too Soon,” kicks off strong as an upbeat, catchy tune that sets an exciting mood for what’s to follow. The track establishes a fusion classic rock-grunge rock sound between the chorus and verse but excitingly yanks the wheel after the second chorus into a flange-filled, Pink-Floyd-esque breakdown that turned heads on “The Dark Side of the Moon.”
But, Bigger Waves begins to hit, well, bigger waves on its third track, “Like Me,” leaving space for its dissonant lines and chords to ring out and strike the listener. The song starts smoothly with only the lead vocal and rhythm guitar lines swimming alongside one another, creating a distance from the audience through volume. Seamlessly, the bridge introduces drums and a clean, glistening piano line that poignantly interplays with the guitar and vocals. This transition brings the listener to a long-ignored reflection of themself that would only materialize after the onset of a solo voyage.
Deep cut “Last Stand” resembles Hemingway’s old man at sea, creating a feeling of desolation while hinting at ominous desperation. The chorus conveys the hope and vision of a person longing to jump into the unknown. However, with the verse line “I have two best friends / they help me sleep,” a connection of dependence is drawn from the narrator into their background and the demons that keep them up at night. The vibe feels further isolated by the moaning, reverberating vocals and guitar solos throughout the song.
Though repetition is part of Sundodger’s sound, it does carry the risk of being too repetitive, and songs like “Shayla” drag on instead of realizing an engaging simplicity. In “Shayla,” it feels like the vocals are intended to play a dominant role as they are the only section that isn’t continuously present, allowing for greater contrast and interest within the part itself. However, the actualization sounds more like a background component to instrumental elements of higher importance.
After an album’s worth of continually amplifying sound size and complexity, Bigger Waves closes with the eerily gentle “Echoes.” Sundodger dials back here, creating a contrasting presence with respect to the rest of the album through style. A vocal line and acoustic guitar dominate the track, impressively departing from the previous sound into a more singer/songwriter feel. The track is particularly well mixed as the elements of a looming bass drum, soft organ, and whistling effect present throughout the song can go completely unnoticed, yet still vividly color the music.
Bigger Waves is a vessel tossed about the waves and crashed to shore; the listener is cast onto the sandy beach; and “Echoes” is the feeling of the water vacuumously lapping the listener back out to sea with it.
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