For every person alive on this planet, there is another way to see the world. That’s a lot of perspective, no matter who you are. But throughout life, you have these things called “defining moments,” where no matter how corny it sounds, you have to choose between following your intuition and following the example set by people around you.
This extends of course to the mercurial task of staying true to yourself in the music industry. With so many peers to compare yourself to, it can be difficult to hear your own voice, let alone find the space to listen to it. Fortunately, that’s exactly what Covet manage to do with their new album Technicolor.
Rather than bending backwards to incorporate adjacent styles, the band focuses on it’s own strengths and revamps everything from the inside out. For these reasons and many more, Technicolor should be celebrated as a positive affirmation of the things that can happen when an artist chooses to follow their instincts.
“Good Morning” paints a perfect intro with primordial reverse delay that draws listeners in like a summer sunrise. Even in it’s simplicity, it’s clear within minutes that the trio has grown substantially.
The fiery slow-waltz of “Predawn,” featuring Philip Jamieson of Caspian, serves as the album’s high fantasy nod, whereas mid-tempo bangers like “Nero” and “Atreyu” keep things prog-like and modern. “Nero,” the album’s first single, has some of the juiciest riffs the band has ever put down, and still ranks as one of their strongest tracks.
But “Parachute,” the first Covet song featuring proper lyrics and vocals by guitarist Yvette Young, just might be the catchiest. It also has a distinct retro feel to it, which might sound like a bold move but it ultimately fits, given the song’s heartfelt theme.
In some ways, it sounds like the Covet we know. But it also sounds totally different. Mike Watts’ production job certainly deserves a nod for his hand in this. Every sound on the album is perfectly placed, and each instrument is allowed to expand/contract as it needs. Yet for all it’s dynamic and shining armor, Technicolor stands as the band’s most vulnerable album as well.
Emotional honesty has always been a part of the band, so to hear it come across lyrically is rewarding in it’s own right. Another treat for long-time fans here is the re-recorded “Ares.” The song shows off a heavier side of Covet, and greatly benefits from the Technicolor mix treatment this time around. To be fair, the skills of Forrest Rice and Dave Adamiak are on full display here as well, which add a metallic, party-hardy flair only touched on in it’s previous incarnation.
Covet also reinvents the familiar for themselves to outstanding results on album highlight “Odessa.” The pedal magic is real; evocative chirping tones duet with majestic strings and head for a waterfall of catharsis. It’s an arc that can’t really be faked. That kind of authenticity can be imitated, but it’s songs like “Odessa” remind us that it’s best to find it for ourselves. As the final notes of the smoky “Farewell” begin to fade, you just might find yourself waving goodbye as you’re transported back to reality.
The album is a success on multiple levels. On the surface, we have it’s ocean spray of killer shred and massively improved production. Not a second of sound goes uncared for and you can feel the heart that was put into it.
But at it’s best, Technicolor is more than a great record. It’s proof that sometimes, it’s not just okay to be different, it’s great.