Too many Allegro Moderato - Wolfgang Amadeus Mozart ; Alan Civil With The Royal Philharmonic Orchestra* Condu albums couch personal matters in universal terms, but Husky Gawenda smartly takes the opposite route on his band's confidently calm debut LP, recounting a past relationship in fits and starts rather than oversharing on the details.
These vivid scenes and impressionistic details make for a surprisingly lifelike portrait of a love gone south, even as it poses as many questions as it answers. You may never quite get every last detail out of Husky, but you'll certainly get the picture.
Husky's music plays much like Gawenda's lyrics: spare one moment, bursting with feeling the next. Pitched somewhere between the pristine, pocket-orchestral feel of early Sufjan and the intricate, ever-changing popcraft of the Shinsthey're preternaturally confident for a young band, piling on when needs be but just Dont Tell Your Mother - Husky - Forever So willing to pull back to almost nothing.
There are shades of Paul Simon and, again, Sufjan dancing around the edges of Gawenda's high, clear voice, and his penchant for full sentences and story-songs sometimes brings to mind early Ben Gibbard. Although there's a slight storyteller's detachment to some of the less blatantly personal affairs here, when he's speaking from the heart, you'll know it. At first, Forever So almost seems too simplistic, just a couple of chords and some guy banging on about his ex.
But once you've leaned into the record a few times and learned a little more about Josephine, what isn't said-- and, consequently, what isn't played-- becomes every bit as compelling as what is. Forever So 's resolutely overcast vibe grows a touch dreary around the three-quarter mark; Husky's tempos tend toward the deliberate, and they're most comfortable hanging out in a minor key, but after nine or 10 fairly maudlin affairs in a row, you may find yourself longing for a little respite.
Such is heartbreak, I suppose: confusing, morose, and always running on a little longer than it should. A few lines here and there miss their marks: amidst the lovelorn stuff that surrounds them, "I just killed a man, it doesn't feel real," from "How Do You Feel", or the fuck-off he gives his Dont Tell Your Mother - Husky - Forever So on "Don't Tell Your Mother", seem strikingly out of character. But that's just The Bumps (Original Mix) - Pete Tong & John Monkman - The Bumps too many breakup albums couch personal matters in universal terms, but Gawenda smartly takes the opposite route.
He allows for enough specificity to make his characters and the situations he puts them in feel very real while allowing for enough ambiguity-- helped along by his story's somewhat dodgy chronology-- to allow the sneaky feelings behind them to resonate well beyond all the particulars.
Only twice does the name Josephine come up throughout Forever Soyet hardly a moment goes by where you can't feel the loss. Skip to content Search query All Results.
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