I had a few essential questions lined up when the Brooklyn duo Water From Your Eyes managed to squeeze me into their hectic press schedule. I got through some of them before they steered the discussion towards more intriguing queries I hadn’t considered.
The band consists of former romantic partners Rachel Brown and Nate Amos, and their sometimes jarring yet always captivating fusion of sounds and influences feels like a more refined and intelligent take on the post-dance-hardcore-punk sound prevalent in both their local scenes and London. Both artists joined CLASH for a chat from their Brooklyn hangout; Rachel relaxing on a bean bag with an iced latte, while Nate appeared on the Zoom call framed by a backdrop of amplifiers.
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Their second release through the esteemed indie label Matador, ‘It’s A Beautiful Place’, is a cohesive 10-track exploration brimming with their shared sonic creativity. Following the critical acclaim of 2023’s ‘Everyone’s Crushed’, Water From Your Eyes was acutely aware that their subsequent steps would attract more attention. “I think it stemmed from a desire to release something a bit less grim,” Brown states, “but I didn’t realize it until someone else pointed it out,” referencing the stark contrast in the titles of the two albums.
Amos emphasizes that the band “was definitely much more deliberate about what we wanted to express with this album,” humorously adding, “This was really the first album we recorded knowing it would definitely be released, so we aimed to create something we felt good about representing.”
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If ‘Everyone’s Crushed’ marked their initial breakthrough, ‘It’s A Beautiful Place’ serves as their declaration of why they deserve to continue making music. “It was significant to release something that focused less on who I am and more on who I aspire to be, and that doesn’t solely reflect the negative thoughts we had about the world,” Brown explains, adding, “We weren’t just thinking ‘We need to make some hits!’ because we were aware that more people would be listening.” Amos agrees, noting that the success of their previous album only solidified their resolve to remain authentically themselves and unyielding. Their synergy is evident as the conversation unfolds.
Even with a more optimistic perspective, their new album remains distinctly theirs, blending Brown’s sharp wit and sardonic humor with Amos’ musical adaptability. The stark tonal shifts between their occasionally grim lyrics intermixed with dance synths or guitar riffs and genuine sincerity contribute to their captivating sound. “I believe that without contrast, the extremes of humor and sadness would never find balance. It’s a fortunate coincidence that this also fosters more intriguing art,” Amos elaborates.
Brown supports this view. “I’ve never laughed harder than when something resonates deeply within me, and honestly, the only way I’ve managed to navigate this far is by finding humor in the sadness of it all… Just like how life, when closely observed, can be incredibly beautiful; spending time with loved ones, yet on a broader scale, it’s crushing to realize that everything that currently exists will eventually cease.”
This observation of the importance of context is central to their new album, which heavily emphasizes how juxtaposing elements alters their interpretation. This is evident not only in Brown’s lyrics but also in Amos’ use of musical themes throughout the record, particularly how the album begins and ends with two tracks that feature similar ambient synths. “There are various rock and indie rock styles explored on the album, and when you frame it with a sound that’s more rooted in physics, stripping away conventional tonality, you recognize that the sounds encompassed in the entire album represent just a small fraction of what can be achieved with sound,” Amos reflects.
Operating as distinctly defined elements, Brown’s lyrics also reflect context. “I was raised Catholic, not that I hold strong beliefs, but I think there’s something beyond our understanding,” they share. “We can only experience moments linearly, but I believe there’s a certain degree of fate and destiny that can be quite comforting.”
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Throughout the album, their lyrics explore the boundaries of what can be known and what remains uncertain, particularly in times of instability. Having skimmed Ursula Le Guin’s The Dispossessed, Brown also ponders alternative societal structures, whether capitalist or otherwise. “I often find myself conflicted because I cherish my material possessions, yet in the novel, one society possesses abundance but is unequal, while another is the opposite,” they express. “I’m not claiming to be an exceptional reader, but the themes in The Dispossessed and There Is No Happy Revolution definitely influenced my writing during this album.”
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There were several questions I was eager to ask when the Brooklyn duo Water From Your Eyes were able to squeeze me into their hectic press schedule. I was able to...