The Darcys 'Fear & Loneliness': An experimental treat that's a delight for fans of artsy rock music
The two-piece Canadian alternative rock band The Darcys' fifth studio album, titled 'Fear & Loneliness', is a swirling journey through the ups of fame and fortune and the downs of a boring, ordinary life. Bursting with tales of glorious rapture, paranoia, and disillusionment, 'Fear & Loneliness' draws heavily from the romance of Hollywood's Golden Age as much as it does from the feeling one gets when they step inside a morgue.
'Fear & Loneliness', as the name suggests, oscillates between the two emotions humans fear the most while focusing on the source of this terrifying feeling. The band's fifth album is primarily concerned with reminding us that the sprawling metropolis, with its promise and grandeur, is often infested with countless dark alleys and unavoidable dead ends. After all, life isn't always sun-drenched pools and picture-perfect beaches. The record opens with the short and sweet title track which begins with a floating operatic tune that grows more calming with every passing moment. Subtle acoustic guitars in the background gradually turn into a twinkling, rousing musical passage that sets the tone for the rest of the album.
The second track on the record, 'Look Me in the Eyes', is bass-heavy and electronic with strong dance music vibes. Vocalist Jason Couse's falsetto is pitch-perfect and endearing as he sings "Look me in the eyes/Don't act so surprised/When I say goodbye/You got nothing left to hide behind." A complete bop, 'Look Me in the Eyes' is an incredibly catchy track with a chorus that sticks in your head. 'Hollywood Ending', the next track, starts with cinematic music before turning into a minimalistic, almost lo-fi pop-rock track. It's mellower than 'Look Me in the Eyes' and, with its starry instrumentals, has a vague dreamlike quality to it.
On 'Too Late', it becomes increasingly clear that the Darcys are experimenting with their sound on each track while also sticking to their core style. Here, the instruments blend into a wonderful mass of dreamy, uplifting passage that gives 'Too Late' a memorable hook. This track is a prime example of how the quality of music can be elevated with interesting experimentation. 'Shangri-Lost' is cheerfully heartfelt while showcasing the band's ability to jump effortlessly between styles. With a constant droning hum in the background over Couse's smooth, gutwrenching voice, 'Shangri-Lost' builds slowly before reaching an exciting crescendo.
The next track 'Off the Deep', on the other hand, is fun and jumpy and, even though it feels out of place from the rest of the album, is a thoroughly enjoyable track. Meanwhile, 'Chasing the Fall' is very '90s alternative inspired with abstract sounds in the background as Couse sings, "You got me chasing the fall/You got me chasing and risking it all/I'm chasing, I'm chasing your love/And I want it all." A well-measured composition, it shows that the band has matured as they change the feel of the album drastically. 'Boys Don't', the most enjoyable track on the record, has near-perfect instrumentals. The lyrics here – which go "To be honest/I don't know what's wrong/But I know it didn't take long/For this to come on/Everything's fine/I'll pretend I'm alright/Because boys don't cry" – are the rawest on the album coming from an extremely honest place.
The following song, 'Reservoir No. 4', is the most experimental track on the record. It's an instrumental that employs various types of eclectic sounds and noises that transition when least expected. A short, sweet, and enjoyable interlude. The tenth track, 'Cowboy Movie', starts is a moving, piano-driven ballad while 'The Glory Days', the final and longest track on the album, is a great closer to a consistent record. With twisting guitar solos, it mashes different modern genres to create an interesting track that's a delight to listen to for fans of artsy rock music. The outro on 'The Glory Days' is the best thing on the album.