Album Review: Cal in Red - 'Low Low'

Steeped in rapturous abandon while ascending on a dream-like journey that betrays its name, “Low Low,” the debut LP release from Cal in Red, a duo from Grand Rapids, Mich., is an ethereal ride with strong entries that solidify the indie outfit's identity and simultaneously delivers welcome surprises along the way.

Brothers Connor and Kendall Wright allow their influences and tastes to come to the forefront of their work, with many tracks on “Low Low” containing small flavors that could be traced back to artists like Phoenix, MGMT, Dayglow or Wallows. Songs by latter two artists – “Can I Call You Tonight?” and “Quarterback,” respectively – were previously covered by the brothers.

Cal in Red submerses listeners in the world they wish to create and are unrelenting in their presentation on the new album, driving the audience to lose themselves in the liminal realm of dreamy '80s and '90s pop-rock on a thrilling and worthwhile indie rock journey that is nearly as poignant as it is refreshing. There are truly no dull stages on "Low Low."

This compact release doesn’t quite touch a 33-minute runtime, and only one of the 10 tracks on the record makes it to four minutes. The ideas and melodies presented don’t linger or overstay their welcome, so listeners should be prepared to set their favorites on repeat.

“Low Low” wastes no time in offering a musical morsel of the full experience that will permeate the entirety of the release, with “She Won’t Say,” one of the biggest standouts on the record, delivering an upbeat, synth-laced track. A soft lead vocal, underlined with a subdued delicacy and strength, is seamlessly entwined with soaring background harmonization to make, at a minimum, a captivating and enticing opening for a debut album.

“Kitchen,” featuring James Mercer from The Shins, another influential artist for Cal in Red, follows with a folksy twang to open the easygoing single, centered on longing and heartbreak. Between refrains of “Tell me why I can’t stop thinking about / You’re someone I don’t know right now,” zests of alt-country sneak their way into the periphery and brilliantly pair with the snare drum and some untraditional elements like a bongo-laden interlude. 

“My Love” nearly acts as an ideal epilogue for “Kitchen,” and without looking to see that a new track has begun, a listener may believe it is the same song for most of its runtime. It continues expanding upon the infectious, breezy vibe from the previous song, but adds in some of the underlying supporting vocal that may have been missing on “Kitchen” to bring the sonic environment closer in line with what was initially established in the opening three minutes of the record. 

Begging for sunsets and drives along the beach, “Boyfriend” contains the namesake of the record with the line “Low low was the perfect way to start” coming at the conclusion of the chorus. Strong, steady rhythmic guitar strumming patterns drive the song alongside a stalwart snare hit, before giving way to a fuzzy, synthetic overdrive bring the track to a close. 

“Zebra” is one of the furthest departures on “Low Low” from the close, subdued sound that is present nearly everywhere on the album. The song opens up the auditory landscape with a colorful and warm entry brimming with charisma and personality all its own. Sixteenth note chord repetitions and a grooving bassline make for a necessary change in pace for the record while carving a niche all its own in the tracklist.

With “Zebra” opening the door to a new sonic experience, “1985” blasts the door off the hinges and launches listeners into a new space of sound fitting for its moniker. The track’s tempo drives on both sides of an abrupt stop and melodic variation prior to the final chorus.

The organization of the record shines through with “1985,” as “Zebra” helps ease listeners into the abrupt shift in style, which may otherwise seem surprising if left to its own devices.

Energetic, syncopated clapping and percussive beats color “Frontside,” which leans into musical devices and composition not unlike Vampire Weekend. A pleasant entry that comes and leaves quickly, the track is actually one of the longest on “Low Low.”

“Swim” is a hypnotic, beachy, surf-rock ballad that is another surprising subversion of expectations but further highlights the musical chops of the Wrights. Reminiscent of artists like Ocean Alley, the track contains one of the most extensive musical solos present on the album and seamlessly flows from idea to idea in the verses, bridges and choruses. 

“Habits” makes a return to more familiar territory for Cal in Red, with a slightly more grounded undertone without as heavy a layering of synthetic instrumentation. This comes with more edge than was present in the opening of the record, both lyrically and vocally. 

The chorus of the song croons, “Girl, ain’t it tragic / I was the one to let this happen / I blamed it on the habits / Never the one / That could see past it.” The juxtaposition of the melancholy lyrics with the slightly more aggressive vocal delivery makes for an engaging, emotional experience.

The album closes with “Flagstaff,” featuring a stripped-down, acoustic opening verse, but this track, again, shows the depth of the musical capabilities of Cal in Red, as they tweak their sound to create a unique listening experience instead of drawing from the same well repetitiously.

“Low Low” is an exceptionally strong debut from Cal in Red, putting together 10 diverse tracks, which display the vision, style and capabilities of the duo. The album leaves listeners wanting more but leverages this as a positive, and the record only gets stronger on each relisten.