You Can Be My Wave

On paper, Love Rarely should be a hit. The five-piece math rock outfit carries a sound that I'm sure will appeal to fans of both early Paramore and any band under the 'Swancore' umbrella. They possess a high degree of musicianship and a legitimate rising star in frontwoman Courtney Levitt, who can transition from melodic belting to visceral screams with ease. However, despite the obvious talent on display, Pain Travels is a difficult listen for me; a case where the production and structural choices actively work against the band's strengths.

My primary issue with the record is the guitar tone. The band employs a jangly, slappy, barely overdriven sound that has become a staple for this new wave of virtuosic math rock, but they push it into a territory I find genuinely fatiguing. The guitars have an ultra-aggressive, percussive attack such that, regardless of whether they're giving you a noodly lead melody or swimming through dense, jazzy chord progressions, they distract from everything else happening in the mix.

This sense of distraction is also baked into their songwriting approach. The compositions are winding and restless, frequently jostling the listener through high-energy bursts and calm reprieves. Regulating that tension and release is an immensely important facet in their genre, but Love Rarely's execution feels like the flow is continuously being interrupted as opposed to building that exciting rollercoaster of emotion. Consequently, this also has a rather large, negative impact on Levitt's vocal contribution. Instead of fronting the band, Levitt sadly sounds like she's constantly interjecting. Perhaps this is a case of underwritten lyrics, although I think it's more likely that Levitt struggles to find her lane amidst instrumentals that have ever-evolving structures dominated by guitars.

While Pain Travels is not really to my taste, the record is not without its moments. When the band leans into their more chaotic, aggressive side, the record finds its audience with me. Repulse and Whiplash are shorter, more focused bursts where the guitars take on a slightly more distorted bite. This grit naturally curbs that percussive attack, allowing the rest of the band to lock into some very cool, tight rhythmic grooves. There are also moments where the vocal potential is fully realized. I'll Try provides the album's only truly memorable chorus thanks to some heavenly, floating vocals from Levitt. Similarly, the end of Disappear taps into a satisfyingly melancholic vibe where Levitt delivers some powerful Hayley Williams-styled belts.

Ultimately, Pain Travels feels like a project where the instrumental ambition and desire to fit so tightly into the modern math rock mold have clouded the big picture perspective. The record is impressive on an academic level, but does not translate into an enjoyable listen for me. To start, I think some of the focus needs to shift from the guitars to the vocals. Levitt's presence, in my opinion, is the band's best asset, and so, I would hope going forward that she would be given more consideration when it comes to both the arrangement and mix.