Still Woozy’s “Loveseat”: a review
His second album is predictable at its worst, and a breath of fresh air at its best.
The album’s cover art is designed by Amiya Kahn-Tietz.
Still Woozy, the beloved bedroom-pop indie artist, has finally gifted us his long-awaited second full-length album, Loveseat. After a three-year hiatus, during which he married his longtime girlfriend (and artist for all his cover arts except for his first album) and welcomed a new baby. The anticipation has been palpable. This period of personal growth and change raised questions about how it would reflect in his music. The answer? Subtle evolution, rather than a drastic shift.
Although many tracks in the album (such as Again, Shotput, Run It Back, and All Your Life) are as lovable as any Still Woozy track, they also don’t exactly sound like anything new. These would feel at home in any other one of his projects. They hook you in with their crisp production and clean drums, and never leave your head (but we’re not mad about it). They remind you of that undeniable Still Woozy charm and the smooth-as-butter vocal harmonies. Although these songs show that Still Woozy delivers nothing by high-quality music every time, they leave a lot to be desired in terms of experimentation. They feel safe, like he made them earlier on in the process before he found a new, more experimental sound.
But he found it on songs like Shit Don’t Change, Big Fish, and Rid Of Me. These tracks show Still Woozy at his best and most experimental, taking the usual joy that it is to listen to his music and making it just a little bit weirder.
Forwards is the first track that introduces some subtle experimentation. The track features collaborations with Coleman Williams and Still Woozy’s old bandmate Bobbing, with crisp hi-hats and a metallic vocal effect that hints at Woozy’s willingness to explore new sonic territories — but it still feels like he’s holding back.
Shit Don’t Change marks a noticeable change (pun intended) with its groovy, house-influenced intro. This track stands out for its upbeat atmosphere and innovative vocal mixing, creating a warm, immersive listening experience. The song’s exploration of reality and control, underscored by a thunder-backed speech in the outro, contrasts the nonchalant claim that “shit don’t phase” him.
Frida Kahlo offers a surprising venture into shoegaze territory, blending energetic tempos and crisp drums with heavy, introspective lyrics of loss and mourning. When the drums kick things off, it’s genuinely exciting and feels like a privilege to listen to this song. In the simplest terms, it is just a pleasure. The track’s driving rhythm and abrupt ending make it a standout moment in the album, showing that Still Woozy isn’t just here to make endless love songs, but he also has a lot of emotional and artistic depth to his work.
“In the simplest terms, it is just a pleasure.”
Next, Houston continues this exploration of complex emotions with poignant lyrics about watching a loved one struggle. Coleman Williams and Bobbing come back to this track and bring a lot of depth to the instrumentals, aligning perfectly with lines like “Might not be your fault, but it’s not mine / please just fall in line” to convey deep emotional struggles with touching simplicity. The song’s delicate balance between hope and exhaustion, love and melancholy, is beautifully captured, ending on a note of optimism with “but maybe it’s okay.”
Big Fish features a galloping rhythm that complements its narrative style, painting a vivid picture of familial bonds and his new role as a father. The lyrics, “When I travel to see you I’m always so glad, I’ll take you anywhere you want to, ‘cause there just goes my dad,” resonate with the warmth of reconnecting with loved ones.
Baby, echoing the melody of Lemon, is a heartwarming ode to his family. This track seamlessly integrates various instrumental elements from the album, culminating in a delightful mix that celebrates the joy and simplicity of family life. Lyrics like, “You with your gap tooth and huge eyes you see through my every disguise and I will always want you to,” add a layer of sweetness to the album’s overall feel.
The penultimate track, Little Things fully embraces Woozy’s signature trippy, psychedelic style. The off-key “ye-es” before the chorus and the intricate drum patterns invite listeners to deeply engage with the song’s exploration of life’s fleeting, sweet moments.
The album closes with Rid Of Me, a poignant piano ballad that sees Still Woozy venturing into new, minimalist territory. The simplicity of piano and vocals, alongside lyrics promising, “You can’t get rid of me so easily,” to his wife and newborn son, creates a deeply moving finale. The introduction of strings in the buildup adds a rich, emotive layer, making it one of his most compelling tracks to date.
“They remind you of that undeniable Still Woozy charm and the smooth-as-butter vocal harmonies.”
Loveseat is a testament to Still Woozy’s ability to grow while staying true to his roots. It balances familiar sounds with just enough experimentation to keep things fresh, ultimately delivering a collection of tracks that are both comforting and captivating.
He has only improved since his last project, and is showing himself to be one of the more exciting — however low-key he may be — artists to watch right now.
