Kick, Sundials’ new six-song EP, is a concise statement of identity. The flow and style of this EP show the band has honed their talent through the years. Don’t let the title mislead you–Kick is not an ephemeral work.
Kick, Sundials’ new six-song EP, is a concise statement of identity. The flow and style of this EP show the band has honed their talent through the years. Don’t let the title mislead you–Kick is not an ephemeral work. By the third listen, I knew: “Here it is, more Sundials sing-along repertoire.” Like Garth’s underwear, this album quickly “becomes a part of you.”
The Sundials stamp is definitely imprinted on this album, but the speed of the songs, as well as the bass lines, creates a marked distinction from previous releases. It seems like a lot of work went into this one, stylistically. “Dealin’” opens the EP with the momentum of a van headed out on tour, while the title track is awesome because of its darkness. The guitar parts are grungy, in a 90s kind of way, and the bass lines are as grungy as some of the lyrics seem to be. “I’m on my knees, so come on–plug into me and I’ll be everything you want.” The backup vocals, again done almost certainly by Nona frontwoman Mimi Gallagher, totally wail!
Perhaps the EP’s title denotes the band wanted to catapult themselves away from their softer sound. However, it could just as easily mean the band has “kicked” themselves to a new stage. While the lyrics of previous albums grapple with the changes of oncoming adulthood, Kick shows a band that has moved past that point and is motivated to make a decision. The album says, “Hey, this is who I am, deal with it.” The songs confront expectations set by yourself or society, and face the fact that sometimes you need to do what is best for yourself. However, what is best for one’s well-being is not always the most productive thing. As Harris Mendell sings on the title track, “Thought about writing a song, but jerked off instead.” “Kick” almost comes across like a song by drummer Cory Chubb’s other band, Close Talker, due to its apathetic and sexual nature.
On “Splinter,” Mendell asks, “Why can’t I pick myself up anymore?” This song could reflect difficulties with the harsher situations adulthood presents a person, or maybe it’s just about depression. There’s a definite sense of difficulty interacting with other people reflected throughout the album, especially on the opening track. “Dealin’” talks about agoraphobia, and letting things go. When Mendell sings, “Sometimes when I closed my eyes I remember I built a fortress,” I think of the way I felt when I lived in the city. I eventually became one of those people who constantly wear headphones while walking the streets, hoping to be left alone. However hard you try, though, it’s inevitable you’ll run into someone you know, and it’s your demeanor in these moments that acts as the mask referred to in “Dealin'”s lyrics.
Even the EP’s cover seems to have significance. The black circle beneath the title could represent a record, but perhaps there’s a deeper meaning to it than that. The black circle could represent a void–either the actual overwhelming physical void of the Universe, or a spiritual void. The illustration on the cover contains images that are both representative of lyrics on the album and reminiscent of childhood. The boy, the house, the pencils and wadded-up paper on the floor–all are set against the large black void. It’s almost as if youth is being sucked into a black hole.
The final track has a sweeter nature. “Eugene,” named after a cat (I don’t have the liner notes, so I’m taking an educated guess), seems soothing. Putting this song at the end of the album reveals the cuddly, Weezer-esque soft sweater side of Sundials, letting us know it’s still there beneath all of the heavier, gloomier songs that preceded this one. In the end, though, the not-so-assuring lyrical promise, “I’ll be around,” does not convey too much emotional responsibility. Despite its sweetness, this song is still tinged with melancholy; it describes finally finding some sort of companionship, but not quite the kind you think you need. That, plus all this talk of paws, makes it seem like the band is talking to a cat instead of a human. >^.^< Kick‘s final moment seems to sum up the entire EP. As “Eugene” reaches a grandiose crescendo, Mendell repeats the final line: “It’s just me.” Being yourself, with all your shortcomings, is often the best any of us can do. These tales of struggling to get through the day tend towards negativity, but can be reassuring during difficult times. Honestly, I wish this album was longer, but then again, its shortness also carries a sweetness that keeps me wanting more.
Kick is out now from Topshelf Records, and can be ordered on vinyl here–or you can pick up a copy in person at the official EP release show taking place at Strange Matter Saturday at 6 PM. Sundials will be joined by Pedals On Our Pirate Ships and Cross Eyed. Admission is $5, and proceeds will go to benefit bassist Carl Athey’s zine, Draft Dodger. For more info, click here.
