The Regrettes
Further Joy
WARNER
With a title like Further Joy, the new album from LA-based pop-rockers The Regrettes raises the question of whether or not the record can make listeners feel such ecstasy. If so, then what kind of joy, and to what extent? Like the forever-summer of LA, the album as a whole is bright, while its unapologetic honesty makes it uniquely transgressive.
Recalling the pop-punk movement of the early ’00s, the band’s third record possesses a distinctly poppy, fun, and happy soundscape not uncommon in music from that bygone era. Further Joy explores this space in a way that’s not quite nostalgic, but instead sounds like that moment never ceased to be, creating an experience that’s new and surprising yet familiar and comforting at the same time. The effect is uplifting—particularly on “Barely on My Mind.” Not only do The Regrettes create this sensation in a way that feels organic, but they also do so with a sense of command in their ability to create tightly composed music with deliberation.
Vocalist Lydia Night’s effervescent and vibrant pop-punk vocals combine seamlessly with keys that vary from synth to organ, taking the pretense out of pop. On “Monday,” she sings about an existential crisis and wanting to get the fuck out of LA. Instrumentals from bandmates Genessa Gariano, Brooke Dickson, and Drew Thomsen manage to complement each other while also standing out in the mix.
Further Joy is an honest, expressive record that feels both urgent and imperative. Songs like opener “Anxieties (Out of Time)” are emotionally engaging with instrumentally intricate and lush keys, vocals, and beats. The record describes universal moments and relatable feelings in a way that still feels personal, real, and authentic as it weaves in and out of narratives both intimate and universal. In the end, Further Joy lives up to its name.
