Album Review: SPEAK – Pedals

Seattle – SPEAK’s new sophomore album, Petals, has come just in time for the summer: filled with bright, synth-laced textures, upbeat tempos, and pure electro-pop. The four-piece outfit from Austin, Texas, comprised of Troupe Gammage on vocals and keys, Nick Hurt on guitars and vocals, Joey Delahoussaye on bass and vocals, and Jake Stewart on drums, came out with the 14-track LP Pedals on June 24 via Playing in Traffic.

Two years in the making, the follow-up album to SPEAK’s 2011 debut I Believe in Everything is a more conscientious, mature, modern synth-pop endeavor crafted with great detail. With a sound similar to Passion Pit, Foster the People, and Gardens & Villa, SPEAK has released a strong, cohesive record.

Opening with “Gates,” SPEAK catches the listener with the bouncy, surfy beats, strong rhythms, and Troupe Gammage’s versatile vocals backed by a catchy, full chorus. The album transitions well into the next track, “Mystery Lights,” a great electro-pop tune that plays with rhythm and sonic textures, making it easy to get stuck in your head.

“Nightlight” has an excellent bass line courtesy of Joey Delahoussaye, and its synth production is top-notch. The 54-second interlude “Weiss” is an elegant transition into “This Much I Know,” showcasing Nick Hurt’s beautiful guitar playing and the band’s nice vocal blend. The ballad-like number is a well-earned breath after the previous dance-ready songs.

Picking up the pace is the eponymous “Peaks,” filled with electronic ticks, synth vocals, harpsichord, atmospheric harmonies, and plenty of other layers that create a strong centerpiece for the album. “Oh Lord” begins with a contemplative guitar solo before launching into Jake Stewart’s fast-paced drumming – impressive percussion he maintains throughout the song.

“Modern Art” is one of the weaker tracks on the album; it falls flat in comparison to the whole. Thankfully, “Be Reasonable, Diane” piques the attention again, kicking off with interesting rhythms and an orchestral swell. Laced with shimmery guitar, high vocals, and great 80’s synth, the track channels Vampire Weekend as influenced by The Cars and Kraftwerk.

Venturing into psychedelic territory is “Congo,” a refreshing sonic departure with a pulsating beat, distorted, wavy synth, and dreamy backing vocals. “Heavy Metal War ” follows with more of an industrial sound, while Gammage’s vocal range gives the track a slightly ethereal quality.

“11/12/13” slows down the album again for its final act. On “The Meantime,” SPEAK revisits their layered roots and build into a heavy, rocking anthem that makes for a great second-to-last number. Fading into “Trials,” the album closes with a track filled with gritty reverb, great percussion, and passionate vocals- a bright, distinctive aural experience. It’s an appropriate culmination of all that SPEAK offered us on Pedals.

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Caitlin Peterkin

Caitlin Peterkin is a Seattle transplant fresh from the Midwest. She owes her passion for music to her parents, who filled the house with artists from The Beatles to The Beach Boys, Simon & Garfunkel to Carly Simon, and Jackson Browne to Michael Jackson. One of her favorite memories includes being presented with her mom’s original vinyl copy of Sgt. Pepper when she got her first record player.

With degrees in journalism and music, Caitlin’s written for Paste Magazine, The Chronicle of Higher Education, and MajoringinMusic.com. She loves cheese, laughing at GIFs of corgis, road trip sing-alongs, and connecting with people over good beer and good music.