Musically deep-rooted in the shade of indie-punk popularised by bands such as The Beths, The Weakerthans and Camp Cope, the group spiel tales of weathering bouts of depression, insecurity, distance and anxiety all before finding hope in the arms of loved ones. Articulating all of this is their self-titled debut LP, a record that mares the warmth of Kovic’s native home country and with the gritty yet alluring sound of UK indie punk in a way that’s agreeable, but some could say undaring.
Recorded in two stints during 2019 and 2021, the album is very much a product of the times, especially with it’s respective overarching theme of personal fear. Opener ‘Baby, I’m Afraid’ instantly establishes both the musical and thematic tone of the LP, with the song being an age old story of a relationship being in it’s final death throes and fear of the unknown that comes with an impending breakup. Whilst the song itself is a mostly breezy and lightweight indie pop affair complete with scratchy fretwork and palatable tones, there’s a stark, almost disparate sense of desperation within the carefree vocals of Kovic. The proceeding ‘Wreck’ and ‘All Hail The Great Destroyer’ – a track influenced by the antics of Kovic’s rescue cat Margie – follow in the same suit. These songs are breezy, jaunty and easily digestible offerings of placid indie pop that hide deeply personal tales of woe beneath their easygoing guises; substance that enlivens the more reclined musical stylistics on display here.
Fourth track ‘The Right Thing (Part I)’ is where the record jumps up a gear. Far more energetic than the more mellow, and daresay passive songs on the record’s track-listing, the track is enthusiastic, energetic and direct whilst still retaining that personal urgency found previously. If anything, it only animates this and makes it far more forthright with it’s adolescent energy. However, save for the electric licks within ‘What You Wanted’ and the crunch of ‘I Won’t Survive’, it’s the only song where the band place a foot to the pedal and fully let loose. Not that this is a direct criticism or anything of the kind mind you. Fortitude Valley as a body of work is a record that opts for the more gentler side of things of indie-pop in order to article it’s personal themes with composure, and to an extent, this choice also allows the band to showcase their genre experimentation with more clarity.
‘It’s The Hope That Kills You’ – arguably of the best tracks to be found here – is a more compassionate and leisurely outing that mares it’s drowsy pacing with abrasive tones comparable to the work of Happy Accidents and The Spook School to fantastic effect. In relation, the more indie-rock punch of ‘Cassini’ is a welcome appearance and the manner in which the lyrical work uses the demise of the spacecraft of the track’s namesake to draw parallels to one’s self-destructive mannerisms is a great testament to Kovic’s skill as a lyricist. Granted though, these variations in sound are, admittedly, subtle. But of course, this record has no intention to be a daring and reckless endeavour in explosive dynamism.
This album very much is a digestible and airy exercise in considerate indie-pop, which it mostly executes to great success. But to return to the beginning of this review, the only offence one could have with this approach would be it’s passiveness however. Of course, it’s undeniable that tracks such as ‘Forget About Me’ contain snaring hooks, but in contrast such material does play it safe and very much refuses to stray from the safety of the genre whilst staying the middle lane pacing wise. Bar from examples previously given, this record sticks to one speed, and whilst this does ultimately layout it’s themes finely, a variation in pacing would help animate the urgency that’s inherent to the album. But as aforementioned, this contrast between personal woe and passive pacing is a great dynamic that helps place focus on the themes of struggle, but through reputation such focus begins to wane. Ultimately though, this is by far a dealbreaker; the positives here greatly outweigh the negatives. Fortitude Valley as an album very much is an endeavour well worth experiencing, and whilst genre tourists will embark for other outings after, it’s clear that fans of indie-pop will be revisiting Fortitude Valley time and time again.