KRUA album review: 'Model'

Los Angeles Indie rock band Wallows released their third album “Model” Friday, May 24. It has been two years since their last full length, “Tell Me That It’s Over.” Model feels both like the band is trying to appeal to fans who loved their debut album “Nothing Happens” while also trying to appeal to a wider audience.

Unfortunately this dilemma led to the trio taking less risks, becoming too comfortable lyrically and sonically while simultaneously taking risks that were missteps in songs that could have been great.

According to the band in a Rolling Stone interview, the album took only 7 weeks to make compared to their previous outing which took 10 months. The quick turnaround time on “Model” shows with confusing and downright bad audio mixing — coupled with the feeling that these tracks if given more thought and more time they could truly shine.

The intro track, “Your Apartment,” sets a beautiful tone and expectation for the album; it feels like a natural progression for the bands’ style — bringing in a lot of energy for a great first track. Unfortunately they could not keep up with the quality of the opening track for the rest of the album.

Some songs felt flat and barebones, specifically, “Anytime, Always,” “A Warning,” “Bad Dream,” and “Only Ecstacy.” “A Warning” and “Bad Dream” felt like they nearly could have merged into one another. I enjoyed them and their slower and moodier melodies. The dream-like synth that backs both tracks along with the punchy drums helps both songs land on their feet. Thematically both are nearly identical. One track could have been cut. “Anytime, Always” is fairly inoffensive but it leaves much to be desired like more intricate riffs and drum beats.

Breaking out of the sameness of “Anytime Always,” “Calling After Me” grabs your attention immediately. “Calling After Me” is the brightest song on the album, lyrically and sonically it’s fun and plucky though gets repetitive by the end. The lyrics resonate differently than their last two LPs; there is far more confidence and young love than their more introspective lyrics and themes.

“You (Show Me Where My Days Went)” while not doing anything experimental, is a solid track on an album that keeps you wanting more.

The most disappointing song on the album by far is the track “Canada,” plagued by potential. Canada has such a beautiful and melancholic instrumental reminiscent of the bands’ first album, Nothing Happens, and alt rock roots. Many paths could have been taken on the track but instead weak conversational vocals with even weaker mixing draw away from its beauty.

The absolute highlight of “Model,” “Don’t You Think It’s Strange?,” redeems some of the ills of the album. It experiments and builds upon indie rock and feels like a proper Wallows song and then some. The lyrics and vocals performed by Lemasters are an interrogation of his motivations for being in a relationship and being unable to be what that other person needs. Lemasters is the heart and soul of “Model” bringing the most emotion in his respective songs.

“Going Under” feels the most experimental of the tracks; the rough distortion and delay in the guitar gives a psychedelic feel and Lemasters' intensifying vocals till he’s screaming his throat raw feel cathartic. This song is packed with emotion you can’t help but resonate with — finally a song in “Model” that makes me feel something. The switch up style of singing may be off-putting to old and new fans alike but the ambition of this track cements it as one of the best tracks on the album.

Though “Model” as a whole was disappointing, some of the groups’ best work to date is present, but be prepared to skip around the album from the lack of cohesion.