Album Review: Duncan Fellows Goes Pragmatic and Cynical in ‘The Sadlands’

In their sophomore album, Austin natives Duncan Fellows explore the eccentricity hidden behind internal struggles through poetic songwriting and a new blend of folk and indie qualities.

Written by Keylee Paz

It all began in a crowded house on Duncan Lane, where members Colin Harman, Cullen Trevino, Jack Malonis, David Stimson, and Tim Hagen started writing music together. Little did they know their music would forever change the Austin music scene as they reached major milestones, such as touring with Wilderado and performing for huge crowds at Austin City Limits. While their previous EPs Twelve Months Older and Marrow were collections of solemn folk tunes, the band changed directions to create a new indie-pop sound in their debut album Both Sides of the Ceiling. After two years of promoting the album with residencies and home shows, they hit the studio to record their new EP Eyelids Shut in 2019 and embarked on their first co-headlining tour with Sun Seeker. After touring, a single photo marked their return to the studio — only this time to record a full length record.

After months of posting photos with minimal captions, they announced The Sadlands and two new singles “Feeling Down” and “Car Song.” The singles revealed a significant change in their style, as the two songs had completely different personas from each other with the same dismal effect of putting listeners in a reflective state. A few days before the release date, the group announced an online video game where players collect flowers and return them to a vase (pictured on the cover), which would then play unreleased tracks. The unreleased tracks were not yet available on streaming platforms, so the game was a perfect way to promote the band’s new music and interact with audiences.

Drawn from the band’s individual memories of the last few years, The Sadlands proves Duncan Fellows have further developed their sound and lyrical styles. They revert back to qualities heard in their debut LP, featuring charismatic harmonies and dynamic hooks. A somber melodic pattern is also introduced, which emphasizes the overall theme of navigating a tough situation by distancing yourself through a world you create. From snappy choruses to danceable instrumentals, the album is designed to resonate with everyone at live shows (whenever they ever happen again).

The album’s opening track “Tube Today” successfully reimagines the band’s signature synthesized chords. The song begins quietly, with some slow and drowned out guitar strums. It then bursts into loud fragments of guitar and Harman’s vocals, which detail how his own negative thoughts are affecting his surroundings. The warped dynamics and quirky riffs create a strong dissonance between Duncan Fellows’ culminating musical charge and depressing lyrics. The end of the song revisits the strums from its beginning, providing a satisfying transition to “Every Mother” while foreshadowing the connectivity between (and rhythmic evolution of) each song.

Duncan Fellows are known for their combined musical efforts by swapping instruments and/or lead singers, as heard in songs like “Aliens” and “Sleeper.” They accomplish these switches once again in “Losing Your Fire,” with Trevino majestically singing the chorus line: “You’re losing you fire / You’ve got to kick it off the pavement / Find another one.” Even though the instrumental dynamic differs throughout the track, the mixture between the lyrics and the angelic backing vocals encourage self-empowerment in the face of internal struggles.

The album’s beginning revisits the band’s upbeat indie sounds from its previous work, but the project’s midpoint sees it slowly evolve into a more sorrowful light, filled with more heart-wrenching lyrics. “H.a.G.S,” a song about staying afloat with support, exemplifies their strong forte for contemplative songs as a psychedelic effect mixes with Malonis’ delicate piano chords. In a later track, “Car Song,” Harman sings about driving around in circles while heartbroken, capturing the raw emotions of his vulnerable state. Along with the lyrics, Duncan Fellows create melancholic melodies that will make anyone feel disconnected from the world.

Serving as the heartwarming peak of the album, “Best I Can” is a ballad that provides dazzling waves of reminiscent emotion through a nostalgic riff pattern. The track starts off minimal, in a minor key, with simple harmonizing chords and divine keys. Stimson’s muted basslines and Hagen’s smooth drumming further accentuate the optimistic lyrics: “And that’s when you’ll know / My heart’s not made of gold / I’ll love you the best that I can.” The instrumentation then converts to a major key, resulting in a complete track full of empathy and acceptance.

The closing song and title track, “The Sadlands,” functions as a magnificent end to a gloomy journey. With a strident hook and unison chants, the repetitive chorus about watching loved ones drift apart highlights their poetic songwriting: “You had a vision of living out on the road / Made our decision and split from what you know.” These lyrics tackle the possible consequences of distancing from society and how such actions shouldn’t be taken lightly. The song ends with a ringing echo, making listeners ponder on how to get through life without letting depression takeover.

Stylistically, The Sadlands is more cynical than Duncan Fellows’ previous work, but they were able to balance a connection between positive energy and a realistic outcome. The album also does a great job of encouraging others to be aware of their surroundings and break away from society. By creating a project full of underlying charisma and contrasting sounds, Duncan Fellows further proves their willingness to experiment with different aesthetics and eccentric tones. The Austin natives produced a well-rounded record with a new fresh take on feel-good indie music — a much needed sound in today’s distanced world.

REVIEWSAfterglow ATXOctober 20, 2020keylee paz