Water From Your Eyes - Everyone's Crushed (2023) Hi Res

Life is horribly dark right now. And yet, it is not unfunny. That’s the sentiment that animates Water From Your Eyes on their new album, and first for Matador, ‘Everyone’s Crushed’, released May 26. On the follow-up to the Brooklyn duo’s 2021 breakthrough, ‘Structure’, Rachel Brown (they/them) and Nate Amos (he/him) find silliness and fatalism dancing in a frantic lockstep, using heart palpitating rhythms and absurdist, deadpan lyrics to convey stories of personal and societal unease. Described by Brown as Water From Your Eyes’ most collaborative record ever, it’s a swollen contusion of an album: experimental pop music that’s pretty and violent, raw and indelible. ‘Everyone’s Crushed’ is shot through with unresolved tension, its nine tracks skittishly refusing to seek out resolute endings or stick to traditional structures. Many songs were written using serialism and microtonalism, and at times evoke the futurist-pop moves of Japanese composer Haruomi Hosono and the brutalism of Glenn Branca. “Barley” is a dance-rock track sequenced in alien tonality, with Brown speaking garbled transmissions (“One two three/Counter/You’re a cool thing count mountains”) over a bed of hallucinatory guitars. “14” leans into contemporary classical, with curtains of overlapping de-tuned strings underscoring lyrics that Nate describes as something out of a “gross-out horror movie”: “I’m ready to throw you up.” Water From Your Eyes still possess an off kilter, shitposty quality. ‘Everyone’s Crushed’ manages to reference classic rock twice – first, on “Barley,” when Brown accidentally invokes Sting with the lyric “walk in fields of gold,” and again on “True Life”, when they sing: “Neil let me sing your song/It’s been this way for so long/Give me another chance.” Those weren’t the song’s original lyrics – Brown and Amos initially wanted to interpolate the bridge to “Cinnamon Girl” – but this is a typically meta compromise for the pair, a way to turn “True Life” into a song about writing the song “True Life”. ‘Everyone’s Crushed’ maps the liminal space between humor and darkness, between cracking up and freaking out. In the album’s closing moments Brown speaks in direct terms, “Clap those hands/Buy my product/There are no happy endings/I’m spending/I’m spending.” It’s playful and totally serious, punky bordering on anarchic, and a resolution to the record’s opening sentiment - “I just wanted to pray for the rain/Wishful thinking for sunny days.”