Wallows – ‘Model’ review: indie-pop that stays in the comfort zone

24 May, 2024

Wallows

Speaking to DIY last month, US indie trio Wallows said that the buzzword they came back during recording of their third album ‘Model’ was relinquish; they wanted to trust their gut feeling and to not overthink the process after a two-year hiatus. It’s a curious paradox given that the band – composed of Dylan Minnette (who most notably appeared in 13 Reasons Why), Braeden Lemasters and Cole Preston – are entering their biggest ever venues: their world tour will take in milestone arenas such as Los Angeles’ The Forum, New York City’s Madison Square Garden and London’s Alexandra Palace.

But, perhaps, it’s a disappointingly accurate description. While the singles released for ‘Model’ were strong and lively, the album as a whole sounds like a band that has withdrawn from taking a risk and stepping back into their comfort zone. More frustrating given that Wallow’s 2019 debut ‘Nothing Happens’ saw the Californians cement their place within the indie world, and 2022’s ‘Tell Me That It’s Over’ saw the group take risks by playing around with genres such as synth-pop and new wave.

It didn’t have to be this way: brilliant lead single ‘Your Apartment’, an emotionally raw track that features a crisp guitar riff and a bright drum beat, sees Minnette singing: “Who said I don’t understand or that I probably won’t remember / Time in the palm of your hand, we both let go together,” revealing the realities of a relationship ending. ‘Calling After Me’ sounds like a missing track from the band’s 2019 debut, and its spry guitar riff – which has become a Lemasters signature – serves as a soundtrack to lyrics describing wanting to take a secret relationship between partners to the next level.

But the album is bogged down by a few too many wet ballads. Tracks like ‘Canada’ and ‘You (Show Me Where My Days Went)’, plod along with lovelorn lyrics, but it just feels tired. ‘Don’t You Think That It’s Strange’ features a prominent, groovy bass line with a catchy chorus but still is not enough to cut through.

‘Model’, then, feels too safe for a band that has been around for this long and is both simultaneously slated for some of their biggest shows yet, but still yet to really leave a footprint in the indie scene. Perhaps the songs from ‘Model’ they decide will flourish in those spaces, but one can’t help feeling like there were risks that should have been taken.