Choreography by Weird Dreams has earned such adjectives as “dreamy” and “jangly”, which one should just read here as trendy. This is not a dig; it’s an objective observation. Weird Dreams is good in a way that everyone can agree upon. It’s similar in principle to the way David Lynch uses the music that he does in his work; drawing on the familiarity, the cultural association, and the collective idea of what something should be and playing off of it. From the noir inspired snapping fingers of Twin Peaks, to the sweet 50’s innocence of Roy Orbison’s “In Dreams” featured in Blue Velvet, Lynch invokes our individual, yet general associations with the music to bring context to the story.
And this is what I feel Weird Dreams has done. The sounds are diffused; from the high vocals (which are gorgeous), to the edge backed off the cymbals. Even the clean tones of the guitar are slightly softened. This cues listeners in that the music is sincere. A Smiths comparison can be drawn, but it also fits into the larger currents of instagram haze, wayfarers, and endless summer youth forever aesthetics. It’s vaguely familiar ala other bands labeled indie or _______ pop. But the trick is in their appropriation, and this is the solid part. They craft those influences/forces, direct them in a unique way into melodies and tunes and the resulting album. My top pick for the album is “Little Girl”, a shuffling number that conjures up visions of the “Enchantment Under The Sea” dance.
Of special note: the bass parts on this album are great. If you’re using crummy ear buds it’s hard to pick up, so do yourself a favor and crank it on a hi-fi and let it shine.
All in all, some may be skeptic of Weird Dreams (perhaps fairly), but it’s everything that was and is NOW.

Words: Brad Kroe