There has consistently been a unique warmth in Alex G's sound. An indescribable, often eerie familiarity draws listeners back repeatedly, whether they have followed him since his underground releases on Bandcamp or discovered his track ‘Treehouse’ through the surprising TikTok craze a few years ago. This warmth is evident in his imperfect vocals, which feel personal even when layered heavily with autotune. His knack for melodies seems embedded in memory like a nostalgic moment. It is also present in the rich soundscapes he creates, which transition from gentle guitar strums to distorted electronic sounds and full-blown hardcore music. This warmth extends to his latest release, ‘Headlights’.
Giannascoli's new project marks his debut with a major label, yet his connection to that cozy vibe remains steadfast as he departs from the DIY approach. The opening and second single ‘June Guitar’ immediately demonstrates this, wrapping Giannascoli’s thoughts on love and youth in beautiful twangs and a rising accordion sound. In ‘Real Thing’, he showcases his unmatched lyrical prowess, incorporating the titular phrase into various contexts without fully disclosing its significance. “No I never thought I was the real thing,” he sings, a notion he continues to challenge in ‘Headlights’.
The track ‘Bounce Boy’ bursts forth with effervescent electronica, standing out as a highlight of the album that elevates Giannascoli to euphoric heights, while ‘Oranges’ reveals his softer side. It presents a gently strummed return to the youthful essence of his earlier music but filtered through a more mature lens. “Storming in full of sin, full of love,” he sings amid moments of metallic percussion, “We were children.” Meanwhile, ‘Logan Hotel’, the live finale akin to 2019’s ‘Sugarhouse’, concludes the album with warmth, inviting listeners to a virtual Alex G concert from their own space, though the sentiment is tinged with sadness as he reflects on the hardships of touring accompanied by a harmonica.
This collection blends beautiful live recordings with cheeky electronica and those recognizable acoustic strums, each aspect more refined than before, likely to resonate with Alex G's loyal fanbase once more. Sonically, there aren't many surprises, yet the music on ‘Headlights’ avoids feeling stale or spoiled. Instead, it embodies a sense of familiarity, akin to meeting an old friend for coffee or catching a whiff of your mother's perfume—comforting yet slightly unnerving.
Throughout ‘Headlights’, Giannascoli’s lyrics remain as enigmatic as ever. Perhaps “impenetrable” isn’t quite the right term; there is depth, but it often requires listeners to interpret their meaning. The track ‘Far and Wide’, delivered with quirky, nasal vocals and unusual strings, could explore a location or an emotion, fame, or creative achievement. The minimalistic ‘Is It Still You In There?’ offers only questions, with no answers provided. ‘Louisiana’ isn’t even truly about the state it references. Each song leaves portions unspoken, inviting listeners to contribute their interpretations, making them feel connected to the album in a unique way.
This isn’t to imply that Giannascoli entirely shies away from discussing his transition to a major label. The somewhat melancholic ‘Beam Me Up’ subtly addresses themes of fame and money, where he confesses, “Some things I do for love, some things I do for money, it ain't like I don’t want it, it ain't like I’m above it.” His more mature reflections on finances and career satisfaction are accompanied by imagery of football locker rooms and blushing moments, yet he seems to exist more in the former realm this time. “Life will pass you by,” he asserts. He might be correct, but albums as exceptional as ‘Headlights’ remind us not to let it happen.
Longtime Alex G fans won’t uncover anything surprising in ‘Headlights’, but most will likely see this as a comforting rather than disappointing factor. The sound Giannascoli cultivated as a DIY artist on Bandcamp in the early 2010s continues to resonate on his first RCA release. The enchanting, shimmering essence of his songwriting and production consistently surfaces, delivering yet another album for fans to play on loop. “I won’t let you down,” he sings on ‘Bounce Boy’, “I’m hanging around.” He stays true to his promise.
8/10
Words: Elle Palmer
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The sonic landscape of Alex G has always exuded a particular warmth. This indescribable, frequently eerie sense of familiarity draws listeners in time and again.