A Pattern of Shadow Under Pale Sun
A review of 'Poetry' by Dehd
Dehd - Poetry (2024)
The ZB 2024 musical journey has mostly been centered around discovering newly released music. Hence why the last handful of reviews have been of albums fresh off the presses. I set a (slightly insane 😜) goal back in January to try and listen to 100 new records by the end of December, and so far I’m around 40ish. So right on pace. We’ll see if I can keep it up lol.
The month of May was no exception. I spent a big chunk of it on the hunt for new tunes and a handful of LPs stood out. Neon Pill by Cage the Elephant was a high profile one that I dug; as was the newest Kings of Leon album Can We Please Have Fun. Both rock acts certainly added to their legacies and let the world know they’re still in solid form. I also sunk deep into The Past Is Still Alive by Hurray for the Riff Raff. It’s a heartfelt Americana piece right in step with the burgeoning indie-twang movement that’s been picking up steam the last few years. Then just a few days ago News of the Universe by La Luz floated through my speakers. If you like psychedelic vibes with an indie rock baseline then look no further.
But none of those newly acquired jams have stuck with me quite like the album Poetry by Dehd. I had never heard of the rock trio before seeing a review of their newest record pop up on my feed. I didn’t actually read it (sorry Pitchfork, I’ll check it out once I’m done writing this lol), but the album cover alone caught my attention and peaked my interest. Sometimes a poppin’ cover is all you need to get a new listener. And that sharp purple wolf doodle got me good 🐺💜
AWOOOOO!
I know nothing about Dehd outside of this album, so forgive me for my lack of historical knowledge on the band and their past releases. I usually like to have some context before writing these periodicals, but figured it’d be a fun experiment to go in blind. Sometimes that’s just how it happens - you find a band deep into their career and fall in love with their seasoned form. That’s a beautiful thing. I wanted to embrace and honor that this month.
At its core Poetry is split between the two lead singers Jason Balla (guitar, vocals) and Emily Kempf (bass, guitar, vocals). They both bring a distinct vibe to their lead vocal work, which is a major part of why this album has stayed so fresh for me. A good band that can ping-pong between vocalists and establish each style as a key to their identity is something to cherish. And Dehd has that in spades.
The Jason Balla tunes are the ones that lean toward and showcase their pop-punk sensibilities. It’s a fitting sound to dive into during the warmth that comes in May. And on those summer-like days this month almost all of the Jason jams have entered roto. He brings the listener right into that nugs, chillin’, and grindage wheelhouse.
Keep on cruisinnnn 🏄♂️
“Dog Days” sets the tone from the jump. It’s such a phenomenal opener. I mentioned that the album cover hooked me initially, but it’s this first track that really got me to pay attention. It’s a song that screams (howls?! 🐶) summer anthem (it’s right in the name lol) with its driving beat and catchy / youthful chorus. I’m a big fan of how Balla totally embraces the pop-punk vocal delivery / mindset. He has a solid voice, yet keeps it pretty low-key and breathes a sort of apathy into each verse that is a quintessential aspect of the subgenre. The same can be said for the other songs he fronts - especially “Necklace”, “Light On”, and “Don’t Look Down”.
“Light On” takes a bit more of a subdued tone, which works well for it’s middle-of-the-record track position at 6. And then “Don’t Look Down” comes right at the beginning of the end at 10 (there are 14 tracks total) and feels very much like the late-in-the-game uplifter.
There’s also a chugging aspect to each of these songs coming from drummer Eric McGrady that really fits the vibe. I don’t think he uses cymbals at all; every live video I’ve seen of Dehd has McGrady set up around a snare, floor toms, and a couple drum pads. And you never really hear it in this record.
It’s a bold move for any rock-based act to steer clear of the familiarity that the high-hat, ride, and crash brings to their listeners’ ears. But when the absence is executed well it can distinguish a group from all the rest. I think these guys own it and wear it with swag. Sure it’s limiting - you can’t really add space or texture as effectively, and cymbals are a very effective way of conveying changes in mood. And no crash or ride can be a major roadblock when trying to play with dynamics (how loud or soft a songs sound). These factors - or lack thereof - cause many of the Jason Balla songs to sound kinda similar. But the vibe is still infectious and the rolling thump from the floor tom adds an extra heartbeat to the ambience. There isn’t a focus on swings in emotion, instead it’s a steady pulse. I dig for sure.
The other realm of Dehd is held down by Emily Kempf. Her voice is super unique and emotive - way more than Balla’s, which gives her side of the coin a more neo-new wave / indie rock feel. And I’ll be completely honest - I thought it was a guy singing her parts until I researched the band before writing this lol. Idk if it’s the particular way in which they recorded her for this LP, or just the fact that she’s got a bit of a deep gravel at times. But the voice just doesn’t match the person for me. I was picturing a scrawny hipster white boy with a tucked-in shirt and high-wasted pants. Then I come to find it’s a tatted-up rock n’ roller badass lol. Wild turn of events, but I’m all about it.
(Check out this live session they recorded just a few months ago and you’ll get a sense of what I’m talking about from a vocal / badass standpoint):
She’s got some serious chops and can clearly hold down frontwoman duties when called upon. Rock on 🤘😎
The upper echelon Kempf tracks on the front are “Hard to Love” and “Alien”. “Hard to Love” comes in at track 2 and is the first instance where you get a sense of the band’s duality. It was a totally jarring change for a newbie like me, but I love the chorus and really enjoy the uplifting energy that the music brings behind her vocals. It’s a strong choice for track 2.
I’m not a huge fan of how the song “Alien” starts (the lyric “I’m not a normal girl” just feels blah to me), but I’m wildly impressed by the chorus and how both vocalists crisscross each other with their chants. Kempf is the main singer on this one, but Balla offers up some distinct moments as the backing vocalist. Very powerful and cool.
On the latter half of the album Emily’s best ones are “So Good”, “Knife”, and “Shake”. The outro to “So Good” is kickass af with McGrady going off on drums and both Kempf and Balla shredding their respective guitars. I mentioned how they are limited with dynamics, but they are not totally hamstrung. That song is a perfect example - I’m sure they let that one soar when they play it live. Total rocker. I really like the uniqueness of “Knife” - it has a slight Vampire Weekend vibe to it that I’m into. I wouldn’t call it a favorite of mine off this album, but it shows their range / quirkiness and I dig that. And the opening guitar riff on “Shake” is fucking killer. They go back to it during the chorus and it hits every time. Mondo fasho.
The icing on the cake for this record are the couple of songs that feature both Balla and Kempf trading off verses. These are IMO the special sauce jams that elevate this album and this group onto another level. “Mood Ring” and “Pure Gold” are the two prime examples that grab hold of you.
“Mood Ring” is mainly centered around Kempf and she is damn good on it. And Balla’s post-chorus verse is pretty chilled out and welcomed. It’s a total gem, and the groove has just the right touch of intricacy (I love the shaker that comes in and out). By the end both singers are singing over each other and it’s a lovely crescendo.
“Pure Gold” is probably my favorite on the album. It leans towards Balla in terms of vibes (very pop-punk), and the guitar riff he lays down is spacious and tasty. But it’s Emily’s verses that throw a twist on the song and give it another dimension. They’re in the zone as a group on this track and you can feel it. Pure gold indeed.
The aforementioned “Alien” can be snuck into this dual vocals category as well. And it’s also worth mentioning the finale “Forget”. That song is another that leans towards Jason, but Kempf comes in with some monster harmonizing towards the middle and end of the track. I like how it feels grand - the swelling guitar during the chorus is the perfect touch to give it that sweeping sense as the curtain closes.
Overall I think the combination of stripped-down drums + dual-threat vocals + catchy indie / pop-punk riffs gives Dehd and their newest record Poetry a mighty leg to stand on. I’m new to their stuff as of now. But that’s definitely going to change soon. I’m on a quest to 100 newly released albums this year, but there’s still plenty of time to sneak in Dehd’s discography during the in-between. I’m sure there’s plenty more great stuff.
Thanks for tuning into another review y’all. Lord only knows where the summer is gonna take things. We’ll find out. See ya on the sunnier side folks
Much love, and keep on listening <3
-Z.B.