April + VISTA, the musical duo hailing from the DMV’s burgeoning music scene, have released the highly anticipated follow-up to their 2021 album Pit of My Dreams, in the form of Traditional Noise via Third & Hayden Recordings.
Preluded by singles like "Standing in Place," "Love Unspent," and "Grotto," Traditional Noise introduces listeners to a sonic palette that maintains the essence of April + VISTA’s strengths while building something wholly new atop it, embodied by gritty, grungy mixes, punk rock aesthetics, and powerfully soulful vocals that could easily be likened to Nina Simone or Lauryn Hill.
Somehow, the duo managed to maintain this balancing act with impressive poise and pulled off an exceptional album that will, without a doubt, tide listeners over until the release of their next studio album.
Opening the album is the aptly titled "Hello," which is essentially an interlude of dreamy bells, synths, and strings, used to bring listeners into the world of this new album.
However, its abrupt ending segues directly into what seems to be a call to action in the form of a faux advertisement, prompting restless, afraid, unfocused, and anxious listeners to indulge in “Traditional Noise for Anxious Adults,” before exploding into the industrial, punk-leaning opener, "Very Bad News," which sees vocalist and lyricist April exploring the same themes outlined in the aforementioned “advertisement.”
VISTA’s production includes abrasive, organic drums and a distorted bass line which blends together seamlessly with April’s distorted vocals.
“Travel light / Through the shadows / I’m watching my back / I hardened my heart / To keep it all in tact / It helps me to forget / all your lies,” April croons. Structurally, the song doesn’t have a chorus, but there’s a beautiful break at around the mid-point of the song in which elegant strings edge into the foreground of the mix. They appear again at the end of the track underneath abstract and distant vocalizations from April, which carries the track to its apex and eventual conclusion, wherein it slowly fizzles out. It feels appropriate, especially considering that the bombast of this track is followed by something a bit more subdued in the form of "Do What You Know."
While more subdued than "Very Bad News," "Do What You Know" still leans heavily into the industrial aesthetics, maintaining the natural drums and gritty mix. However, rhythmically, it’s a lot more bouncy and pop-leaning, and the twinkling synths add an air of dreaminess; VISTA’s production is rather sparse and feels dissociative in a way. Lyrically, April seems to explore the idea of having to go through hell to get to heaven.
“I dug a hole to the other side / had to go lower to reach high,” she sings despondently.
The chorus adds a bass groove, subtle guitars, and futuristic-sounding synths, which build nicely and act as a suitable backdrop over which April implores listeners to “Do What You Know,” in order to get wiser, and is accompanied by angelic backing vocals that really add to the dreaminess factor.
The album really takes listeners on a succinct and cohesive journey, with songs that build off of one another, seeming to carry the energy from the end of one song and begin the following song with a similar tone. This is the case with not only "Very Bad News" and "Do What You Know" but also with ‘Two Evergreens,’ which continues the stripped-back and restrained vibe of the preceding "Do What You Know."
Set to nothing more than distant, sparse piano chords and acoustic guitar, April’s performance is given center stage to shine. Lyrically, April likens a love that she carries with her to evergreen trees, towering over her and whistling in the breeze.
Despite its 3-minute and 27-second runtime, the song passes quickly and feels almost like an interlude. It’s a very pretty track that, by its conclusion, resembles the ending of an arc – and the beginning of another.
The next song is arguably one of the most standout tracks on the album: the single "Standing in Place." Forlorn electric guitar notes and distant vocalizations open a track that, by its climax, includes a whole choir and a cacophony of drums and synths, all laced between one of April's most impassioned performances yet.
Thematically, April seems to explore the feelings associated with a relationship that was once close but is now distant. “And though I can’t see you from here / Oh, my view is crystalline / Standing in place, right where we belong,” the singer belts out.
As mentioned, the song builds significantly on its opening instrumentation, introducing a simple drum loop and subtle bass. The drum loop carries through most of the track and sits surprisingly well beneath the swelling vocals. When the drums drop out to make space for the choir, the shift allows that moment to breathe, but keeping some percussive element there could have elevated the track even further.
However, April’s earnest, sincere, and cathartic vocal crooning at the close of the track; make it all worthwhile.
A few other standouts include "Bless My Heart," "Love Unspent," and the closer "Morning Star."
"Bless My Heart" brings the energy of "Very Bad News" back, and it’s fantastic. The song opens with distorted bass chords and a swirling symphony of haunting voices that almost sound like laughter, barely discernible under the heaviness of the bass. “Lost outside myself, I feel detached,” April opens the song just as the speedy and punchy drums jump in.
Occasional electric guitar licks add to the punk-rock vibe, and April’s droning performance fits perfectly. The chorus on this song is also probably the most catchy on the entire album, featuring TonyKILL’s vocals echoing April’s “Lost myself there, bless my heart” with a distant “Ready if ya want it now.” The two trade these lines back and forth over the hasty production, and it’s absolutely infectious.
"Love Unspent" feels like a return to form. A more traditional April + VISTA song, complete with a bluesy alternative R&B vibe, it could have fit very nicely on 2018's You Are Here or earlier projects. However, it perfects the formula that began on those projects. The harmonious backing vocals accentuate April’s performance perfectly, and the trotting drum line, pulsing bass, and low piano chords provide a wonderful backdrop.
Finally, the album’s closer, "Morning Star," feels like a fitting conclusion. Stripped back and full of melancholic reflection, April’s sentiments are given full room to breathe. A painstaking piano ballad, April seems to explore finality and death, singing of tears, stories, and credence being buried beneath the ground. By the end of the track, the minimal production fades into synths that close out the album.
All in all, April + VISTA’s Traditional Noise is a wonderful album listening experience where there’s little in terms of a dull moment. From the punk rock and grungy aesthetics of tracks like ‘Very Bad News’ and ‘Bless My Heart’ to the avant-garde sonics of "Standing in Place," to intimate cuts like ‘Two Evergreens’ and "Morning Star," Traditional Noise has something for everyone, and April’s performance never grows monotonous.
While the various instrumental interludes like "Modify Your Tradition" and "Rot" don’t feel entirely necessary, they do little to take away from the overall experience of the album, and they never overstay their welcome.
We here at EARMILK absolutely love the album and will be here ready to listen to whatever the duo makes next.
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