Photo courtesy of After Gardens
Seattle-based pop duo After Gardens are masters of concealment. The band’s debut EP, Yes, the World Is Changing, released April 10, tells of the tale of loneliness, heartbreak, and apathy masquerading behind jovial melodies and danceable backing beats that beg another listen. The duo — vocalist Luke Culbertson and drummer Brennon Knott — released two singles off the EP earlier this year, “Free Time” and “Too Much,” that cover two points on the path of heartbreak: the breakup itself and the self-doubt that comes with it, respectively. Yes, the World Is Changing delivers the remaining pieces of the puzzle with the same snappy electronic melodies and high-energy percussion.
“Free Time” opens the EP with upbeat percussion and a story about recognizing toxicity within a relationship and taking the steps to disconnect from it. With lyrics such as, “I don’t need this sickness in my life” and “I don’t know how to be alone,” the listener is taken along the familiar, post-breakup path of coming to terms with being enough for yourself and jumping into the unknown, alone. The vocals are joined pre-chorus by staccato downbeats and a handful of distorted electric guitar as Culbertson discovers that his time is his and his only, singing, “I guess I’m realizing that I don’t want to waste it away.”
The next track, “1800HITMEUP,” contrasts its predecessor with highly distorted percussion and a bass melody reminiscent of sitting drunk on your couch while you listen to the music bumping from the party next door. This song presents itself as a successor to “Free Time,” as Culbertson begins by singing, “So what am I gonna do with my time?” After the breakup in the opening tune, track two delves into the familiar process of hookups, indifference, and disinterest: “It’s a beautiful night / We should go out and not enjoy it.” When an equally ambivalent female character is introduced, a clear picture is painted of two lonely, heartbroken people trying to fill a void they don’t quite understand — with strangers they don’t care about.
Middle track “Ecstasy,” shifts tones and presents an ethereal, romantic ode. The track delivers a distinct electronic keyboard melody flanked with quiet backing instrumentals that create an effect akin to white noise — blurring everything into the background as love and lust take the front seat. Vocals enter with sickly sweet lyrics: “Ecstasy / This love is plain to see / All that I ever need / Is here in my arms.” The storyline has transitioned from loneliness and apathy into love, and the listener is enveloped in romance.
However, the titular ecstasy is brief and fleeting, as Culbertson sings mournfully, “Left on the line / What a terrible time” and “If there’s a love that is true / I’ll never see it from you.” It appears that the love from “1800HITMEUP” was nothing more than a rebound — here for a moment and then gone forever. Heartbreak radiates from the lyrics, but the instrumentals stay innocent and soft, and the track ends with recorded vocals that sound like snippets of a voicemail from a lover (perhaps, previous or future) — suggesting the vocalist still believes in love and romance, despite losing it.
The story shifts yet again as the EP progresses into “Too Much,” the second single. “Too Much” brings back the loneliness felt in the first two tracks, only this time it’s joined by insecurity and rooted in the use of technology and social media. The energy returns, filled with buoyant percussion and a funky electronic melody. The listener is immersed in despondency and insecurity as Culbertson chants an eerie bridge: “Why be yourself when you can be someone,” commenting on the idealized persona we create online to hide who we really are.
At this point, After Gardens has taken the listener through a painful breakup, the lack of interest in getting back out there, the painful sorrow of a rebound, and the burning insecurities of repeated disappointments. The story begs for a happy ending, which is somewhat delivered in the final track, “The Back of Your Mind.”
The song begins with a high-energy, percussive beat that’s quickly joined by cheerful bass and groovy keyboard. The instrumentals remain consistent throughout, creating a danceable piece similar to “Free Time,” which suggests that the cycle of love and heartbreak is beginning all over again. The story ends as the vocalist comes to terms with what he can and can’t control. Culbertson sings, “It’s an amputation you can’t anticipate,” lamenting that some things in life happen without any warning or time for preparation. Though there is no concrete happy ending, the combination of acceptance in the lyricism and the spunky, optimistic instrumentals leaves the listener feeling like things are going to be okay.
Yes, the World Is Changing may only be a five-track EP, but the story told by Culbertson and Knott could fill pages and pages. This is no shallow project; while the EP may serve as an excellent soundtrack for lighthearted dancing, a closer listen reveals a universe curated by the trials and tribulations of the modern dating world. No lyric is left unwritten, no beat left partially done — Yes, the World Is Changing is a beautifully crafted EP of the most relatable feelings in the world.
Yes, the World Is Changing
9.5
Instrumentals
8.9/10
Story
10.0/10
Cohesion
10.0/10
Grooviness
9.0/10