By Nikki Celis
It’s winter 2016 and there’s no sign of decline for the slew of white male jangle pop rehashes: a recycled ‘80s trend re-popularized by the likes of Mac DeMarco for the new, liberal generation of entitled Millennials experiencing the woes of life. After all, indie rock – historically and even today – is still a straight white male dominated industry.
Take L.A. hopefuls Slow Hollows, a new generation of ‘90s alt-rock revival, jangle pop youths, led by Austin Feinstein (lead guitar/vocals). Straight out of high school, their resume is remarkable, if only by the number of collaborations Feinstein’s had with high-profile artists such as Frank Ocean (“Blonde,” “Endless,” and “Self-Control” alongside Swedish wunderkind Yung Lean) and Tyler the Creator (“Cherry Bomb”).
Following the release of 2015’s Atelophobia, Slow Hollows emphasize dreary winter blues with their third album, Romantic, released under their own DIY label Danger Collective. The album is a youthful, poesy, lovelorn collection of songs written during Feinstein’s senior year of high-school that effortlessly meander into the foundation of the human pathos: loneliness (“How can you love something / and know you’re not trying… / for what’s feeling / are we breathing still?” laments Feinstein on “Flowers”).
Don’t expect anything innovative (except for that sexy, sexy brass), but don’t expect to be disappointed, either. One can’t go wrong with a band so reminiscent of the ‘90s alternative rock, post punk scene, the album’s opening track “Spirit Week,” providing immediate callbacks to Pavement, Sebadoh, and Beck. Feinstein’s vocals aren’t choirboy material, but his lackadaisical drawl laid over clever, easy-to-follow instrumentation (have I mentioned that brass?) and chord progression is definitely appealing.Romantic, Slow Hollows