Send me to the Moon!
Moody Joody’s debut EP, Dream Girl, is a shimmering self-exploration project wrapped in synth-pop soundscapes and sonic dream states. Arriving from Nashville, Tennessee, the musical trio – vocalists/ front-women Kaitie Forbes, Kayla Hall, and producer Andrew Pacheco – craft an emotionally deep narrative of existential reflection, divine femininity, and longing for stability in a chaotic world.
Track one, “Ground Control,” immediately sets an intention for the extended play. “Working for the man, I don’t understand / Who I really am, what is it all for?” The expression “working for the man” reminisces a corporate shadow and signals a lack of personal freedom, autonomy, or fulfillment in such an industry. Right from the bat, listeners can’t go without questioning the implications of being a woman in music and are encouraged to engage with flawed work aspects designed to benefit men in power. However, the line also hints at relationship battles where “the man,” in this case, has their partner running circles to be pleased.
Some relationships, like those mentioned in track four, “Velvet Connection,” can blur the lines between first-date-jitters and straight-up overthinking. The lyrics are a stream of consciousness, careful consideration of every moment leading up to those “electric” feels. At about 0:52, the lyrics jump around like an ecstatic yet doubtful thought process, where the girls ultimately resolve with a dreamy chorus about “That velvet connection,” then a clarity bridge that acknowledges “Maybe, we’re in the danger zone.” Is a “Velvet Connection” worth all the contemplation, or is its shine on the outside just a distraction from what should be smooth?
“Ground Control” juxtaposes its vibrant, high-energy blends and polished production with lyrics revealing desperation and uncertainty. Lyrics like, “I need an SOS / Everything around me is a modern mess,” and “Take me off this Earth, somewhere off the grid / Out of oxygen, have nothing left / Can someone send me to the moon?” underscore Forbes’ and Hall’s desire for grounding over drowning. On the other hand, “Velvet Connection” has lyrics that match its sonic texture. The pulsing beat and lyrics synchronize: “Burn, bleed, want, need, love, dream, blue jeans, longing, streetlights, blurry, night sky, tell me why I can’t stop thinking about your body.” It’s a hazy feeling, it’s not quite love. You know when you feel it.
Moving past the beginning stages, “Cuts Deep” is a late-night confessional track that contrasts glossy, layered synths with intimate, stripped-down sound moments. Those “cuts” mimic ups and downs, slicing reasons to stay with or leave someone, that get lost in the fever dream feeling. Reflecting anxieties surrounding a relationship’s defining moments, the lyrics and melody capture a fear of leaving, wasting time, and most of all, getting hurt or bruised.
In and of itself, track six, “Pass The Time,” is a deep cut. It takes a darker, more introspective turn compared to the rest of Dream Girl by exploring themes of cyclical imprisonment. Positioned as the closer, the track resonates as a grappling search for purpose and acknowledges the stress of finding meaning in routine. Listeners experience a gradual intensity as the song builds slowly, with time…up until the end when the song erupts with a grungy distorted climax! Progression, here, mirrors the emotional weight of the song’s themes, intertwining dreamy synth elements with raw, gritty tones to create that cathartic release. “Pass The Time” becomes a resilience anthem, turning bleakness into something oddly comforting.
The title track, “Dream Girl,” dreams a dream, whereas track five, “El Camino High,” lives out the dream and then reminiscences. In “Dream Girl,” the antagonist stays a mystery, and they “Like it this way,” which is discrete. “El Camino High” takes action, “Crossing out the writing on the wall” and addressing the mystery. It feels like a joyride. Both are wholeheartedly in the moment but also save space for past selves. Moody Joody are space cadets, riding every wave in a widely resonant way – or, in other words, universal.
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