Dan Hillier
The third full-length from the Watford emo starlings, Elysian Skies sees Lakes enliven their intricate sound with a sense of newfound assertiveness. Whereas their previous records – 2019’s Constance and 2021’s Start Again – were brilliant and haplessly charming records that saw the band establish their ensnaring take on emo in the key of American Football, TTNG, I Feel Fine and Bon Iver, they were records that felt somewhat, well, timid. Not in a fashion that could be understood as meek or ambivalent however. Instead, these wonderful albums felt modest and humble in a way most endearing.
The twinkling and therapeutic contents that bounded these records resonated a sense of delicate carefulness that sounded like they didn’t want to disrupt the status quo or alert their contemporaries. Whilst such a statement could be interpreted as a criticism, it’s not intended to be. In fact, it’s more of a compliment. In an age where many a fresh-faced act attempt to disrupt the order of their scene through forced arrogance and obnoxiousness, Lakes approach to pleasant songwriting was a welcome respite from the norm, and with this in mind, the post-rock allegory of Elysian Skies takes shape. With this record, Lakes bolster, flesh out and enlarge their quaint sound without losing any of the tender intricacy within their lovable craft.
Understandably – and thankfully – the transition Lakes have undertook with this body of work isn’t one of overt prominence. Don’t anticipate flexing musical swaggering nor goliath walls of sound. Instead, the band have emboldened their sound in the same fashion that they write songs; with loving and careful consideration. The opening run of ‘Deep End’, ‘Aces’ and ‘The Face You Make’ bares fantastic witness to this. As ‘Deep End’ slowly and tentatively introduces the record with blossoming synths, cosy glockenspiel and vocalists Blue Jenkins and Roberto Cappellina trading lines once more, ‘Aces’ explodes forth with a sense of joy and adventure that’s reminiscent of the halcyon days of adolescence. A giddy serving of sun-kissed emo, the upbeat track feels akin to Lakes lifting the stylings found within the aforementioned Start Again to the sun proudly and boldly, infusing the track with a newfound sense of confidence. This, in turn, is counteracted by the indie-pop despondency of ‘The Face You Make’. A more lethargic track, one harkening thoughts of Los Campesinos!, the track see’s the band approaching more darker songwriting with a sense of boldness not truly seen on their earlier work. The variation found within their previous outings is present, but more assertive and insistent – yet far from being aggressively forceful.
Truly, Elysian Skies witnesses Lakes in their most confident form to date. The first arc of Elysian Skies will undoubtedly play into the exceptions of those acquainted with Lakes, but as the record progresses more daring forays into new textures and darker stylings are to be had. ‘Leap’ sublimely showcases this. A dark and minor-keyed antithesis to Start Again’s title track, the song see’s the band include more brooding dramatics into their musical fray, with the song climaxing with this colossal and beautiful conclusion complete with ponding drums and imperial post-rock trumpets – courtesy of band legend Trumpet Tom of course. Furthermore, ‘Chablis’ stands as the band’s most dramatic song to date. Driven by Jenkins’ brilliant vocals and brooding alt-rock riffs, the song is a total shift in stylistics for the band, with the track sounding crestfallen and austere when compared to it’s contemporaries on the track listing. Yet, with it’s intricacy and charm, it’s still undoubtedly Lakes and an utter joy to behold.
These more dusked and dare say sombre tracks may counteract to what we’ve become accustomed to from Lakes, but it’s a brilliant display of their evolution as songwriters, and as a counterpoint, Elysian Skies sees some of Lakes most gorgeous and bright works to date. ‘TLC’ animates the allure and wonder of the album’s title with math-rock progression and charming percussion, ‘Joker’ sounds akin to a playful romp through a pine scented forest and album single ‘Tie Dye’ is a wonderful multi textured pop song alive with pure whimsy in thanks to its acoustic fretwork, double bass and progressive pop sensibilities. Perhaps it may be the presence of Tom Peters (Alpha Male Tea Party, The Fall, Vennart) manning the album’s production that has emboldened the band to take more risks, but with these songs further bolstering and enchanting the overall sound of the act, Elysian Skies truly sees Lakes treading fresh musical pastures and augmenting their work with confidence without compromising their truly wonderful and tenderly crafted work.
As the mathy nostalgia of ‘Our Fine Agreement’ paves the way for closer ‘Huron’, it honestly feels impossible not to adore this record. Lakes have long been an act that have felt like they have restrained themselves from realising their true potential, and with Elysian Skies they fully realise this potential and promise with charm and splendour aplomb. With this album under their collective belts, the skies are truly the limited for this brilliant band.