A futuristic throwback classic.

RIYL: Silversun Pickups, Wye Oak, The War on Drugs, Kate Bush, Hop Along

Impossible Weight, the third album from Seattle’s Deep Sea Diver is absolutely fantastic. It works as an album you can listen to the whole way through, or as a collection of singles you dip in and out of. It’s an expertly crafted grab bag of sonic gems with a little something for anyone.

So what does it sound like? Well, there’s a lot of variety in here, but, what stands out to me is the terrific guitar work and arrangement coupled with some phenomenal vocal work. Jessica Dobson, the driving force here, really shines, whether it’s her voice, her guitar work, or her songwriting and production, her presence weaves bright, unique threads all the way through, touching and guiding each track.

For a deeper dive into how the music is made, check out KEXP’s Isolated Tracks session with Jessica Dobson, for “Impossible Weight”. It’s a fun, geeky look into how it all comes together.

Speaking of KEXP, they’ve put Impossible Weight down as their number one of 2020, and I think that’s just fine in my book. It’s a classic, and one I expect to come back to over and over again.

Song notes:

“Shattering The Hourglass” - It’s pretty and feels like a straight-forward, but very well executed indie pop song. A beautiful track. Something in the vein of a Waxahatchee or Wye Oak.

“Lights Out” - Reminds me of Silversun Pickups, with the smooth vocals, the complicated rock instrumentation, and slow to speeding cadence. Fucking killer song, one I would love to hear live.

“Wishing” - A timeless quirk. Vocally reminiscent of Kate Bush, if you pushed her voice down an octave. An interesting structure, but catchy.

“Impossible Weight” - The second single, and probably the most conventional “hit”, as it seems like the most accessible song of the bunch, by a thin hair, as they’re all accessible. Sharon Van Etten’s vocals here play a fantastic counterpoint and, at the same time, compliment, to Jessica Dobson’s. There is also something unique and special going on in here, at first blush seems like a solid indie rock single, but (for me anyway) it grew into something really standout.

“Switchblade” - The first listen through it seemed a bit out-of-place with what came before. It’s moody, slow and kind of jazzy…almost. Bust upon further listens, I can see how it fits, as there are a lot of little details in here I missed the first time around.

“Hurricane” - Dobson’s vocals really shine in this one, and it’s another that feels a bit timeless; like it’d fit in many times and many places.

“Eyes Are Red (Don’t Be Afraid)” - This is probably my favorite type of pop-rock. It’s future-feeling and classic at the same time, feeling a bit like the title track for an obscure 70s sci-fi movie. This might sound corny, but it’s chill enough to be played in a hotel lobby or the elevator of a particularly hipster boutique hotel but also…rocks.

“People Come People Go” - A smooth groover. A summery disco-rock jam. Fun stuff.

“Lightning Bolts” - Similar in feel to “People Come People Go” with its slick rolling groove and funky beat.

“Run Away With Me” - An acoustic track where Dobson’s vocals and guitar work are on brilliant display. The feel of the track, as you might expect, is a departure, but as a way to close out, it really works well.