Annabel
Each And Everyone
Count Your Lucky Stars; 2009
It’s good to know that there are bands on the market that are ready, willing, and able to grow up when the time calls. When I first came across the delectable indie-pop tones of Kent, Ohio-based Annabel, I remarked that, while I appreciated the band’s capable pop acumen, I wondered where and how this trio could deepen and further its sound. The Now That We’re Alive EP was comprised of five bittersweet tracks in the Wolf Parade and Death Cab for Cutie vein, and while there’s nothing wrong with such a sound (in principle), I am glad to hear the band’s progression and development all over Each And Everyone.
This is still decidedly pop of the breezy, jangly, indie-friendly variety, including three tracks updated from the aforementioned EP from 2008, but the band has taken on a voice of its own, while still tipping its hand in terms of influences. The vocals of Ben Hendricks still take center stage on each song, and what makes them so memorable is that, while they are still pensive and self-aware in their lyrical ruminations (Ex. “All I ever need is what everyone needs / A shoulder to rest on and a heart to beat” from “Widow Party), there is a strength and volume present that sweeps away any pretense of cheese or cliché. It’s as if the band realized that there was no need to make any attempts to approach an Arcade Fire level of grandeur (or melodrama – take your pick) and decided to instead opt for the majesty of late ‘90s Midwestern emo.
Where Annabel wins its biggest vote of confidence from me is when it intentionally veers hard away from the cutesy, boppy, trendy pop of Bishop Allen and Annuals. Sure, the music is powered by a fun, bouncy sensibility, but this group is most assuredly not a hip, pretentious, “We’re-from-Brooklyn,” trust-fund indie act.
However, if I were to be completely transparent, I would express my reservations that there are instances where the band comes across as a bit too “it,” a bit too “now.” These feelings get me to wondering whether or not these songs would sound immediately dated if the scene decided to shift directions in the next few months and years.
But in the end, Annabel’s energy and overall musicianship allays those concerns. Songs like “People And Places,” “Bouquet Mines,” and “Parade Rest” make Each And Everyone a great, top-down, road-trip-ready record, packed to the gills with a driving tunes and a sunny disposition. Fans of contemporary indie-pop will (or should) be quite pleased with this record.