Written by J. Dylan White

Like a drive with the top down and no destination in mind, Rebounder’s debut album, “Downtown People,” is a sun-soaked ride with some memorable stretches, even if the road runs longer than it needs to.

The New York City-based outfit, led by brothers Dylan and Noah Chenfeld, earned critical acclaim with its early EPs and opened for indie icons like Phoenix, Muna, Cults and The Neighbourhood. Dylan fronts on lead vocals and guitar, with Noah on bass and vocals, while Zack Kantor and Cobey Arner complete the lineup.

The album aims to capture one long, humid New York summer of love, lust, and mistakes while showcasing the ever-changing nature of the city. The sound is polished and vibrant, though the record often plays it safer than anticipated.

“Convertible Season” opens the album as a breezy, surf-rock cruise with a near-Latin feel, evoking contemporaries of the genre like Ocean Alley or Mako Road. A prominent bass riff drives its interludes, making a strong first impression.

The song firmly establishes the theme of freedom and independence early, with the refrain, “You make the night yours,” closing the chorus and encouraging a life lived to the fullest.

“Downtown People” follows as an upbeat, pop-focused cut, with a crisp snare and lilting synths, while “Miss Little Italy” pairs driven verses with freer choruses, falsetto lines, fuzzy guitars and smacking drums.

“Heavenmaxxing,” one of the record’s singles, sinks back into island rock, with steel guitars, dreamy vocals and a persistent bassline that is undeniably catchy. Centered on a burgeoning romance, the lyrics “When I’m close to you I’m sure / That you’re all I need and more” make an impression as some of the most heartfelt on the album.

“Background Action” features an infectious shuffling drumbeat in the choruses and a strong guitar melody, while “Tennis Bracelet,” a collaboration with Austrian synth-pop artist Sofie Royer, leans heavily into funk and disco. Royer’s subdued vocals dovetail well with the main vocal line, but the song feels a bit meandering lyrically, and the momentum begins to flatten in the middle stretch of “Downtown People.”

“You This Time” shifts to a slight hip-hop flavor in the backbeat, and “American Sunday” brings a plodding, walk-along beat that feels like an alternate universe’s “Boulevard of Broken Dreams” that is much more melancholy.

“It’s Always Fashion Week” is the album’s first real turning point that should grab the listener’s attention. An infectious guitar lick leads off one of the best vocal and melodic progressions so far, and the track is one of the first moments that shows what the band is truly capable of. The closing line, “I just want to find myself in the light again,” is a rare moment of vulnerable exposure on the record.

“Europe in August” layers shimmery synths behind the main instrumentation for a Gothic feel, and it is not until the final chorus that the track transforms into what it should have been all along.

“Strike Gently” takes some risks in departing from the established sonic identity, but it never quite finds a direction, ultimately falling a bit flat. “Doomer Baby” brings a different flavor with auxiliary percussion, but it executes the same formula of guitar and vocal melodies better and more effectively. It is catchier and simply a better song.

“Instant Nostalgia” closes the record with smooth vocal flow that complements the instrumental lines and a previously unheard vocal filter. It is one of the most energetic songs on the album and encapsulates its youth.

The guitar work, both lead and bass, is the biggest strength of the entire release. The instrumentalists’ technical abilities shine through, and the riffs are insanely engaging.

“Downtown People” is an album of solid entries and strong musicianship. But across its 15 tracks, there is plenty of good here that could be trimmed into a newer, more interesting foundation for the band to work from. Consolidating the middle section of the record could make the experience more concise and focused.

Credit: Sofie Royer