Throughout the band’s growth, Beach Bunny has solidified an identity that delivers electric, fun, and raw music with powerful gravitational pulls; you can’t help but find some songs or albums that hit. That’s how it was with me, and it continues to be with their new album, Emotional Creature. Like past albums, they exhume a youthful (instrumentally) yet mature (songwriting) presence in the Rock scene, building these unique instrumentations with fluidity, continuously immersing into Rock at an authentic level. However, that loses importance with the consistency of the instrumentalists Jon Alvarado, Matt Henkels, Anthony Vaccaro, and frontwoman Lili Trifilio as they steer the ups and downs. Emotional Creatures reflects a new direction that mostly strides because of the aforesaid general positives and evolves naturally with its “Sci-Fi” angle–it echoes as synthesizers are now a prominent instrument. The album gives us an artistic improvement with a flurry of wicked great music in a compact product with great songwriting and melodies, despite a few hiccups.
With Beach Bunny’s recent inclusion of synthesizers, the shift isn’t as robotic; it offers a guide for effects, pedals, etc., instead. It adds nuance to the instrumentations as they bounce between pop and punk rock, weaving different tempos and transitions, which gives Emotional Creatures some smoothness. Though I can’t say similarly about all the songs, Lili Trifilio takes us through these perspectives that root into the core of her emotional journies with the people around her. Boasted by the intricate use of the effects and synths, the expressive force in Lili’s voice delivers that oomph, attracting you toward it. We hear that throughout, with a few occasions of insane synergy that tugs you closer and closer, like “Gone” or “Karaoke.” It’s an effervescent feeling throughout the first half, never becoming unwavering as we continuously transition from “Entropy” to “Weeds.”
Those tracks get supplemented by potent songwriting, which buoys a relationship-centric core that takes varying avenues to tell a story. “Fire Escape” beautifully uses these detailed actions to paint a scene in the context of the track; in this case, Lili Trifilio sings about her and her lover’s journey through New York. It’s a consistency that stands out more frequently than not, especially in the first half. We hear these varying trajectories that are distinct and colorful lyrically. Similarly, “Eventually” sees Lili singing about facing your problems as running from them never makes them disappear. The vocal melodies bring whimsical energy that radiates slight pop-punk nostalgia in its rawest form.
That whimsical energy holds their spaceship afloat, containing engaging reminders about the subtle complexities of both sides. Unfortunately, it can get shortsighted with lingering or repetitive notes, but we get a construct that elevates the stickiness which grips us firmly. Though the repetition can mostly feel subtle, it doesn’t weigh down the quality since Lili Trifilio delivers these varying vocal textures. The final track, “Love Song,” sounds more standard, giving this feeling that it’s just a poorer reflection of “Entropy.” Many catch our ears swiftly, keeping fans of rock music, like myself, looping music that comes with slight nuances to 00s pop-punk/punk-rock, like “Fire Escape.” It stays personable while remarking notions that generalize friction or connectivity in its songwriting, allowing the instrumentations to energize and deliver rawness, specifically with guitar and bass. And it’s a reflection of the consistency heard in the first half of the album.
With tracks like “Weeds” or “Deadweight,” there is a looseness toward sonic depth, but they get enveloped in its writing. Beyond taking their own unique approach to the themes, there is a cleverness to their writing. “Weeds” brings back that nostalgia in the form of age, as Lili Trifilio incorporates a Polly Pocket in a beautifully unique way, singing in the second verse: “Tired of giving, giving, living like a lady in distress/But I don’t need someone to save me/Not your Polly Pocket in your lover’s locket/You can’t hold me down, I’m a bursting bottle rocket.” After “Weeds,” we get a bit disjointed musically; Beach Bunny creates these detailed instrumentations rooted in synths and losing the essence of emotion. You’ll predominantly hear it with “Scream;” the synths guide the vocal performance over some mundane drum patterns–similarly, the instrumental track “Gravity” doesn’t try anything new with synthesizers. It left me feeling empty–there was an opportunity, and they missed it.
Emotional Creatures continues to showcase Beach Bunny’s talent while expressing new directions. We get some wonderfully mixed rawness/openness from the band as instrumentalists, specifically Lili Trifilio’s dreamy, intimate, and detailed writing and vocals. You get taken to the center of their persona and more as they acquiesce sounds into a clean front-to-back progression, but there are hiccups along the way. As a fan of the band, they deliver tracks I’ll return to frequently, and I hope you do too.