Eerie Wanda, the moniker of Marina Tadic, offers personal compositions with her second LP, Pet Town. The songwriter, along with additional bandmates Jasper Verhulst and Jeroen de Heuvel, got creative for the second album’s production and musical decisions, and the band showcases the benefits of isolated and intimate writing styles.
The sophomore album, for most bands, seems to be a “make-it-or-break-it” fork in the road, and Eerie Wanda succeeds in finding a fine balance of thoughtfulness, uniqueness and relatability with Pet Town.
Pet Town, Eerie Wanda’s second LP, offers a tropical somberness that cannot be found in its predecessor, Hum, while maintaining the qualities that make her sound unique. The decision to replace a drum set with hand-created percussive beats and a drum machine, although at times oversimplifying the songs, adds to the tone of the album as a whole. The album keeps a lo-fi aesthetic intact while spreading its messages throughout, as the soft buzz in the background of a few songs delves even further into the intimacy and emotional spectrum the band is conveying. With songs like “Pet Town” and “Rockabiller” paving the way for rhythmic head-nods to others like “Moon” and “Sleepy Eyes” that offer listeners a comfortable melancholia, Pet Town does not disappoint.
As a whole, the album juxtaposes ambiance and sweetness awesomely, and in doing so it creates an almost psychedelic journey where previous fans and new listeners alike will find themselves at peace.
This review was originally published on SPILL Magazine.
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