New album: Hush bewlay – “Age of Confession”

Wonderful album for the first time from Los Angeles -based artist Silence bewlayand The era of confession A delicious bendy and a delicious composite mixture of pop and pop, and outperformed the selfishness and relationships in the modern era. “The same title refers to both the modern era where attention is the most important currency, the importance of self -reflection and not taking yourself seriously,” explains bewlay, with a focus also on the role of maturity where one moves in relationships and finds comfort in his skin.

The era of confession It begins with elegant and elegant indulgence via “Social Smoker”-a path that mixes the guitars in driving, post-evil brown pulses, and cold-tied decoration, which makes it vitality in the atmosphere. “Who says this love is a lie but always calls very late?” Bewlay asks in climate attractiveness in the turn for two minutes, which leads to a wonderful rapprochement of moods. It achieves the “death of the ego”, which followed an exploratory attractiveness; Singing, “I was a lot in my head,” amid alternatives to the plots faced by the guitar -led. Lyrical routes move on the human nature hook “can be the death of the ego”, which is brilliantly transmitted to the deep influence that others can have on a person’s feelings, all within a feverish charm.

The album succeeds in achieving a balance between dark acoustic foods with bonding structures. The vibrant rhythmic support pushes the attractive guitar pulse of the excellent “familiar landscape”, which raises a new arrangement in its mixture of post -evil rhythms and spinning combinations, and coincides with an audio connection of the praise. “There is no water outside the city,” it opens the bewlay and warns from all over, reinforces before the fun keys and the head of the heads that evoke a luminous feeling of nostalgia to the past. It follows the “lost days” and maintains these sparkling characteristics, this time with prosperous piano lines and warm audio. The “Look AT Me” choir, especially in its transformation between the glossy ether and the more night consistency.

Copies around the ritual address, “stay sorry” is active with modest guitars and bright mixed textures, similar to the intersection between the Depeche, Cure and OMD mode. Her objective approach is equally wrapped, and depicts a relationship that suffers from cycles of harm, denial, and regret the performance – and the apology followed by the effect of weapons. “Oh, you think you are something worth keeping, then it is something worth preserving,” as it announces singing, which indicates a possible account point. After that, “very sad” directly refers to the title of the album, pointing to an era in which recognition is a currency. Repeated abstinence becomes, “It is very sad, luscious / you cannot dance,” which is a painful separation of the emotional depth in favor of the attractiveness of the surface level, and perhaps a relationship has echoed its cracks.

“This is good” closes the album with more security vulnerability, and the chaos of growth is adopted in both love and identity. “You don’t have to prepare forever / everything we get, this is good,” sings Bewlay, and reflects the ambiguity that defines life and real relationships often. Refrain from the title finds acceptance in the event of uncertainty, and presents it as an element in the human experience and the personal relationships that arise. It is an impressive end of an overwhelming album that excels in its objective endeavor and coherent fusion sharply from POST-POP, Pop and Rock.