Confronting the past with art.
Spencer Peppet, the lead vocalist and songwriter of Cincinnati’s The Ophelias, said their new album, Spring Grove, is inspired by a period of her life when metaphorical ghosts were visiting her. Be it ex-lovers, ex-friends, or acquaintances, they seemed to appear around her and remind her of the past.
Fittingly, the album shares a name with a cemetery in Cincinnati.
Peppet decided to channel this period of confrontation into 13 retrospective tracks. Aided by the rest of the band’s talents and Julien Baker’s production, The Ophelias deliver a high point of indie rock.
Many tracks are addressed to an unnamed person, always delivering a message. Peppet’s songwriting mirrors the overthinking and overanalyzing that led to the situations being addressed. Uncomfortable metaphors and rapidly shifting moods make the record stand out overall.
The album’s opener, “Open Sky,” is Peppet’s letter to an estranged friend who recently ended a bad relationship. Peppet assumes she has nothing valuable to offer, but she still wants to offer something. She sings, “I don’t see you anymore/ It’s been three years, I’m better off/ But I had heard what’s going on/ And I have got a single thought/ It’s: Good for you/ I’m really happy for you.” These lyrics are set over an arching crescendo, like all the feelings are bubbling up with the music.
The skill and talent of the other bandmates cannot be overstated as Peppet’s clashing lyrical tone needs a band to move with it. Mic Adams delivers a punchy performance on the drums. Andrea Gutmann Fuentes plays the violin–a commonly underappreciated instrument in indie rock–and makes every sad moment of introspection gut-wrenching. Finally, Jo Shaffer’s bass performance provides much-needed stability to Peppet’s whirlwind of emotions. The band works incredibly well together, and with Baker producing, they’ve created something remarkable.
“Cumulonimbus” is the album’s single, and it highlights Peppet’s conflicting emotions. She addresses her ex and compares everything they didn’t say to a towering cloud hanging over them (read: cumulonimbus). The emotion of the instrumentation drives palpable resentment, but as the track concludes, Peppet looks back on her behavior and apologizes for her lack of communication. The track is a testament to Peppet’s growth.
The record has moments of slower folkiness with tracks like “Gardenia” and “Shapes,” but they’re not without weight. Every song hits you with a conversation you never wanted to have but were always meant to. Peppet is forcing the listener to grow with her.
A lot of the tracks have an eerie feel to it, explaining the band’s horror inspiration. Maybe it’s the feeling that every song is too fast or that every arrangement swells and moves too much, but it feels like the listener is being haunted and chased.
Like a good horror movie, Spring Grove leaves you feeling a little hollow but still satisfied. You needed to scream.
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