With a whole decade behind Smallpools since their debut hit single, “Dreaming”, there’s naturally a lot about the alt-pop scene that looks different. Many of the bands that started with them are no longer active, venues they frequented that used to be filled are now desolate, and cities have evolved beyond what is familiar. These swirling images of change mark the trio’s return with Ghost Town Road, an anthemic record that captures the bittersweet passing of time.
Smallpools proves their ability to glide between the realms of time from the jump. “Swayze” has many references to things of the past like classic cars, homages to the “Dirty Dancing” and “Risky Business” films, and the namesake of the track, 80s heartthrob Patrick Swayze. Pair all of that with a sound reminiscent of the group’s early work, and the result is a lot of power behind how the song is ultimately looking to the future in hopes that this relationship can stand the test of time. From being “stuck in a daydream” to trapped in routine, “Night Shift” offers a contrasting perspective and tackles the struggle of feeling a lack of a way out of monotony and mundanity. Fast paced drums and dynamic guitar riffs, executed by Beau Kuther and Michael Kamerman, mask the worry behind the repetitive wondering, “Will it ever end?”
A desire for more out of life while remaining in comfortable anonymity is often confronted with challenges in the digital age, where the lines that separate the dichotomy of reality and facade are unclear. “Fake a Happy Face!” discusses wanting genuine connection but being fixed in pretense with the vibrance of alt-pop and the introspection of indie rock. “Everything’s great, everything sucks / I don’t even care, I care too much”, frontman Sean Scalon goes in the catchy and cathartic chorus, candidly expressing the state of modern emotional chaos many find themselves in.
Despite the turmoil of the times, there are pockets of unadulterated joy, as is demonstrated in “Amelia”. Footsteps and birds chirping crash into a strong beat that parallels the intense feelings within the lyrics. Certain parts seem to possess a layer of distortion which could sonically nod to love’s capacity to warp perception, to the point of becoming willing to commit crimes and ruin one’s life for someone. Bliss has taken over as the birds sing again, this time with shining horns to boot.
“Motorbike (Wild Ones)” sparks forgotten flames and reminders of summers that were simpler. Infectious hooks and a bright melody surround lyrics of fleeting moments that make up the chapters of youth that we can never get back but will always remember. Laden with elements of 80s pop synth, the upbeat energy eases the bright reflection of the roads that were traveled, “drunk on gasoline igniting / On a six speed flying”, and subsequently left behind. And on the other side of the years that were carefree, are those that involve navigating the complexities of the world. “Socio-Empath” tells the story of someone who wishes they could do more for the tragedies out there, just to fall victim to complacency. Echoes of promises to do better are relatable for anyone who is actively living, learning, and trying to do their best.
The Official Music Video for "Motorbike (Wild Ones)" by Smallpools
“Paperweight”, a high-speed track that gazes on a former relationship, flashes between past and present as the protagonist is trying to let go of everything. Even though, “It’s kind of twisted”, they just can’t help missing the beautiful disaster they had, who is already back on their feet. “Caller ID”, a vaguely softer but no less engaging song continues following this thread of melancholy from a love gone sour, but perhaps not totally expired. It’s easy to get lost in the chord progression and Sean’s falsetto in the chorus as his “heart skips a beat” seeing the other person’s name on the screen.
Vibrations of a smartphone transition into quiet ringing at the beginning of “Make Like a Dream & Die” signaling faded memories calling at the back of the mind. Throughout the album, Smallpools effectively unpacks and recollects their experiences, while trying not to get completely swept away by the allure of nostalgia because “Oh how time lies”. Still, they allow themselves a few minutes to get wrapped in fondness. The additional voices make it sound like they’re singing with those that are a part of the very memories they’re recalling, and a great musical break only adds to the overall warmth this song holds.
In a similar way of wanting to grasp onto bits of the past, the production of “Be Kind, Rewind” invokes a picture of a deep blue, static late night. Sean asks, “are we out of time?”, at the last tracklist, within the limits of cinematic metaphors that further imply a definite and eventual end. He concurrently conveys acceptance, if only for a few seconds – “We don’t have to fix every mistake / If we did, I worry parts of us would be erased” – for how things played out. Finishing the project with this particular tune demonstrates the group’s understanding that time, and what happens in it, is a loop. Like how listeners can restart the album and movies can be rewound, emotions and encounters will unfailingly come back in new forms. Time cracks the universe and its opportunities wide open.
Rather than get stuck in the past, Smallpools expertly utilize nostalgia as an engine to honor both where they’ve been and where they’re going with their signature vivid writing. Each song in Ghost Town Road acts simultaneously as a vivid time capsule for either a state of mind or an amorphous place, and a vessel of honesty to guide the band, and anyone else, through whatever lies ahead.
