Monday, July 17, 2023

Album: Trophy Eyes - Suicide and Sunshine [2023]

Ever since their 2020 single Figure Eight caught my eye, I've been lowkey curious about their music, so when Trophy Eyes started a new album cycle for Suicide and Sunshine, I diligently followed it all the way through. At the start, it just seemed decent, but I cannot explain to you how much the singles grew on me over time, and by the time the album dropped, I might as well have been in love with it.

I think the reason I've been loving their releases is because they've genuinely dialled into their self-described "sad songs disguised as happy songs" sound. There's an emotionally complex overtone of this contrasting juxtaposition that can only be human, one that most of this record embodies in full force.

I think the singles are in fact some of the best tracks on the record, despite how long it took to grow on me. Part of the reason is how easy it is to mistake them for just another generic pop punk song, but once you dive deeper into the intricacies of their sound design, as well as the lyricism and meaning of the record, it will quickly become more than just a song. Of course, credit to the catchiness, whether it's the piercing and bright main synth melody and of Blue Eyed Boy, the simple yet absolutely captivating vocal melodies of What Hurts the Most, the tasteful bassline and vocal deliveries of Kill, or the soft ambience and gorgeous sound design of Life in Slow Motion. Each single slowly but surely got my attention and rethink Figure Eight as simply being a fluke.

Of course, that did leave me with a sizeable amount of anticipation for the actual record release, and I have to admit not every song hit the way I wish it could've, but it cannot be denied that some of the non-singles are either on par or better. The chaotic and punkier tracks like People Like You and OMW are more fun for sure, but feel a lot less unique to their sound, although the ragers are always welcome. The few less notable cuts that never managed to latch onto my subconscious still have merits but I can't say with honesty that I care any much for them (sorry My Inheritance and Sweet Soft Sound). Sean is a track I pardon from much criticism on the listening experience because it is meant to be a lot more than that in sentiment, and I absolutely respect the intent and execution behind the track. Between the pained screams and slow recountings of his friend's suicide over soft, sombre instrumentals, it's nothing short of emotional and heartbreaking.

And for the bangers, I think it boils down to great melodies and moments. Runaway, Come Home's chorus has some subtle but awesome vocoder harmonies before exploding into a loud soundscape of bliss, chock full of stellar production work. Stay Here's chorus has this overwhelmingly colourful synth serrating the background of the bold and punchy soundscape, grit in the vocals like a cherry on top. Epilogue being a brilliant closer for the record, boasts a memorable riff, undeniably addicting chorus to sing and a surprisingly wholesome message to boot.

Suicide and Sunshine sees Trophy Eyes at their all-time best, fully in tune with the kind of music, message and emotion they wanted to convey since the start. Refined by the tough times and the brink of extinction, they've found renewed purpose and intent through it all and created the best record they could've made. A standout of the year, for sure.

Rating: 9/10

Tracklist:
1. Sydney
2. Life in Slow Motion
3. People Like You
4. My Inheritance
5. Blue Eyed Boy
6. Runaway, Come Home
7. Burden
8. Sean
9. What Hurts The Most
10. OMW
11. Kill
12. Sweet Soft Sound
13. Stay Here
14. Epilogue