Annie Bloch independently released her second album Floors late last year. It’s an album that was shaped by a cacophony of influences. Bloch is based in Cologne, Germany, but was “born in Lower-Saxony, Germany, and reborn in Ireland.” The album features session musicians from both countries and was recorded after only a week of rehearsal. The short rehearsal period resulted in intimately raw performances while also highlighting the musicianship of Bloch and the players she utilized for the album. Moreover, spending time in “alternative venues, jazz bars, [and] classical concert rooms” has left its mark on Floors, resulting in a miscellany of chamber and jazz-tinged indie-rock tunes.
The opening track “Too Drunk to Talk” establishes the world in which this album resides. The din of chatter opens the record, and Bloch goes on to sing about relationship struggles in a straightforward, relatable way. Overall, her lyrics on Floors paint vivid pictures that the listener can get lost in.
Many of the songs on Floors feature chorus and reverb-soaked guitars. It creates a vast sound, mirroring the world Bloch has created through the lyrics. The tune “Cold Feet” has a guitar riff that will surely get stuck in your head. “Pouring” is another one that is anchored by its guitar work. The song has a twitchy drumbeat, and the guitar mirrors this discomfort, especially in the outro solo. The song breaks down into an avant-garde jam as if the drums and guitar are fighting against each other. It’s a wonderfully crazed moment.
Juxtaposed to the high energy of songs like “Pouring” are more quiet and contemplative tracks that feature strings and brass. “Offshore” is a beautiful track with a haunting string section. This, along with the glitchy guitar and metallic sounding percussion, gives the track a dystopian feeling.
Floors is sonically and lyrically rich with each track contributing a new element to the albums overall sound. The inclusion of chamber and jazz elements will attract listeners from all corners of the indie genre.
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