ALBUM REVIEW: The Constance – Lakes

Climbing from the underground music scene of Watford, England, LAKES earned their indie/emo stripes bouncing from pub to club with the DIY attitude that helped them build a career from their self-made Tahoe EP. Taking no hand-outs and hustling since day one, the six-piece collective forged their sound with influences from emo, math-rock and alternative indie that could easily be compared to that of AMERICAN FOOTBALL or INTO IT OVER IT. After three years the band has paved their way to success with their fully-formed LP The Constance.

The Constance is an open letter to the world about tales heartbreak, toxic relationships and the other complexities of life. There’s no holding back here; both in their lyrical and instrumental counterparts LAKES are as honest, upfront and authentic as they come. Tracks like Constance and Geneva immediately stick out the average listener for their transparent lyrics that take from real-life situations, amplified by the angelic harmonies and raw vocals from Sam Neale and Roberto Cappellina.

Following up from their previous EP’s Tahoe and Geneva, The Constance is a staple album for LAKES that defines their sound but in the same way, it won’t limit their future creative ventures because of how vastly explorative the tracks are on this album, opening new avenues to venture down in their future works. Instrumentally, this is their most expansive and unique work to date, tracks like Geneva and Ontario explore fun instrumental backings with what sounds like a child’s xylophone and possibly a cowbell? Be it a mystery, those subtle hints of fun, odd instrument tracking breathe new life into their songs and overall giving listeners an exciting, hedonistic experience.

Indie music has become saturated than ever with bands riding on the back of the modern emo revival, making it impossible for musicians not to fall into the trap of creating the painfully generic sad song. To their credit, in this album LAKES breakaway from this chain and offer emotional lyrics enveloped in catchy, vivacious beats. The juxtaposition gives their powerful lyrics that extra “oomph!” that might catch listeners off guard, especially with tracks like title-track Constance. It’s as daunting as it is emotionally draining to be so open with your audience, but LAKES effortlessly wave their heart on their sleeve as they boastfully sing of toxic relationships and heartache.

For the most part, this album exceeds its expectations. Possibly one of its few faults is the crutch of repetition some tracks lean into that may have been passed off as catchy in production. They can’t all be winners, Placid and Baikal are a victim to this, easy to skip through the bridges of repetition used to cradle the rhythm. But it might be best to give LAKES the benefit of the doubt; this is their first full-length LP in a saturated industry with impossibly high stakes that are barely attainable. For the most part, this album is easily digestible for listeners and plays to their strengths instrumentally.

From start to finish, The Constance is full of surprises. Opening with the title track, LAKES deliver a lively, eccentric brand of unique quirkiness right through to the sombre, serene note of closing offering Erie, ending The Constance in a bittersweet note and leaving listeners awaiting the next chapter of LAKES.

Rating: 8/10

The Constance is out now via Friend of Mine Records.

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