{"id":1250,"date":"2019-11-27T02:57:09","date_gmt":"2019-11-27T02:57:09","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/slowhollows-actors\/"},"modified":"2019-11-27T02:57:09","modified_gmt":"2019-11-27T02:57:09","slug":"slowhollows-actors","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/slowhollows-actors\/","title":{"rendered":"Slow Hollows Get Heartfelt with ‘Actors’"},"content":{"rendered":"
<\/p>\n
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\"Slow<\/p><\/div>\n<\/p><\/div>\n<\/figure><\/div>\n

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by Erin Christie<\/p>\n

The latest Slow Hollows project, Actors<\/em><\/a>,<\/em> opens on a somber note: with the soft brass lullaby, reminiscent of the elevator music you might hear in a picturesque hotel lobby. Slow Hollows\u2014comprised of Austin Anderson (vox\/ guitar), Aaron Jassenoff (bass), Jackson Katz (drums), and Daniel Fox (trumpet)\u2014set the scene as they draw you in; from the gate, it\u2019s clear that their third full-length record is emotionally-packed and unapologetically so.<\/p>\n

\u201c<\/em>Do you love me, or do you love the feeling?\u201d <\/em>Anderson implores on the single, \u201cTwo Seasons,\u201d drawing upon feelings of insecurity and unease. The track closes on a classic lo-fi hallmark, a distorted personal conversation wherein the speaker reflects on \u2018animalistic\u2019 frustration, regret, and anger. Much of this record explores the complexities of human relationships and the emotions that accompany such and it\u2019s that sense of vulnerability that makes this release feel like a massive step forward in the vein of honest expression. <\/p>\n<\/div>\n

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Directed by Ben Tan, David Altobelli and Austin Anderson Engineered and Mixed by Daniel Fox Slow Hollows is Austin Anderson, Jackson Katz, Daniel Fox, and Aaron Jassenoff ‘Actors’ out now https:\/\/slowhollows.com\/<\/p>\n<\/div>\n<\/div>\n

\n

This is the band\u2019s first full-length release since 2016. With such a significant gap between releases, it\u2019s certain they\u2019ve had a decent amount of time to mull over what they want to write, what they want to tell the world. For Anderson, who takes the lead in songwriting, this LP is a chance to be more open, to experiment, to feel unafraid\u2014in a large way, that has been achieved through not only lyrical content, but also production-wise. <\/p>\n

One of the record\u2019s first singles, \u201cYou Are Now On Fire,\u201d is a dance hit in the making, including brilliant trumpet-playing from Fox, 80s-inspired synths, and bright, bouncy instrumentation. \u201cI wanted to write a pop song, but I was really scared of being judged for doing something like that\u2026[\u201cYou Are Now On Fire\u201d is] one of my favorites on the record, because I was scared of it at one point, but I eventually embraced it,\u201d said Anderson in an interview with office<\/em><\/a>. His hesitance is understandable\u2014change is scary\u2014but in venturing further into the realm of indie-pop (emphasis on the pop<\/em>), singles such as this mark a daring change in direction for the group and it appears effortless, almost natural.<\/p>\n

\u201cHeart,\u201d another pop anthem, describes the tumultuous emotions accompanying romantic love, and it\u2019s one of the tracklist\u2019s most powerful inclusions. It is later stripped down to its bare bones as the album\u2019s concluding track, a reprise, exhibiting brass, soft keys, and a heartfelt sentiment. \u201cI recover, knowing you\u2019re the only one,\u201d Anderson hums, and it feels like a secret that we aren\u2019t meant to hear.<\/p>\n

Amidst the high-energy, reverb-heavy hits such as \u201cHeart,\u201d \u201cBlood,\u201d and \u201cYou Are Now on Fire,\u201d Actors<\/em> is equally as speckled with soft-handed acoustic earworms, adding a nice balance to the mix. Anderson\u2019s voice shines against a more subtle instrumental backdrop on \u201cHell,\u201d one of the record\u2019s most beautiful inclusions, for example. Later into the tracklist, the subtle implementation of keys on \u201cCowboy\u201d is reminiscent of snow falling in flurries and landing on the sidewalk, only to melt moments later. <\/p>\n

Slow Hollows\u2019 first record, Atelophobia<\/em>, was released in 2015 (when Anderson was just barely out of high school). Since then, it\u2019s clear that both he and the rest of the band have done a lot of soul-searching, and Actors<\/em> is the result of that. After all, it\u2019s been almost five years: in that amount of time, you grow, experience, and endure a lot, both physically and emotionally\u2014in that sense, this record has a knowing sense of maturity to it, one tinged with self-discovery and an unabridged openness. <\/p>\n

Actors<\/em> tells a cohesive story of growth through painting various portraits, each from the same perspective\u2014that of Anderson. It doesn\u2019t shy away from the ups and downs involved in the experiences described, from the honeymoon phase of a relationship depicted in \u201cHeart\u201d to \u201cPosture,\u201d which describes the painful process of urging yourself to look ahead when something falls apart. Many of the tracks are directed toward an unintroduced \u201cyou\u201d\u2014in releasing something as brutally confessional as this, likely with a specific listener in mind apart from their fanbase, that has to be nerve-wracking. With the vulnerability of the content, that\u2019s enough to consider this record praise-worthy, let alone how amazingly beautiful the instrumental backdrop is.<\/p>\n

When listening to the record all the way through, you can\u2019t help but lose yourself in the music, in the story they\u2019re spinning. Holistically, this record is a triumph for what could be called one of the most influential Tumblr-era indie acts of their time. Unlike actors, who assume a given role and later returns to themselves when out of character, Slow Hollows aren\u2019t acting when it comes to their raw delivery, and it\u2019s that genuineness that makes this record all the more meaningful.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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