The synth line in THROES NYC's new EP, The Wires Out, doesn't just appear out of nowhere, but gradually makes its way into the track. The same mood carries into the darker of the two songs, “Something Chemical.” A bass that circles before the chorus, along with a sparse piano, sits under Courtney Leo's voice.
Courtney's delivery remains low and somewhat distant, as if she is telling herself something that she knows may not be right for her. The bass has a funky feel and keeps moving underneath her, giving the song a tight and slightly off balance feeling. It makes you feel as if you're in a situation that keeps repeating itself.
“Always, Baby” is quite a different story. It starts with just piano and voice, a much softer and more open sound than “Something Chemical.” Then the buzzing synths appear, followed by the guitars, and the song gradually becomes heavier and fuller. At the end, it's no longer the same tone as at the beginning, but rather more rugged and raucous.
This contrast enhances the sense that the two songs are related, rather than simply sitting next to each other. “Something Chemical” remains tight and restrained, keeping the pressure in. “Always, Baby” is just the opposite. It continues to develop until the feeling finally comes out. One song holds its breath, the other breathes.
Both tracks have a common thread in Michael Bozzo's production. The low end is beefy, the electronic elements are layered, and there is a sense of when to keep things muted and when to let things grow louder. “Always, Baby” finds its release, while “Something Chemical” uses restraint. They sound different, but still feel like they belong together.
What stays with me is how the two songs resonate with each other. One is about being caught in something and quietly recognising it. The other is about an emotion that can't be contained. They come at that feeling from two different angles, and it feels like they're two responses to the same question in The Wires Out.
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