On Candid, the ever-indie Whitney consummate their sound and style, then inject its warmth into covers.
Roommates Julien Ehrlich (drums and vocals) and Max Kakacek (guitarist) form the basis of indie-folk band Whitney. Hailing from Chicago, the duo fell down a stream of seemingly endless touring, following the earned success of their 2016 debut LP Light Upon The Lake.
It’s easy to understand how these soulful reflectors found an audience essentially off the bat. Singles like No Women blend pretty riffing, gorgeous brass, and Ehrlich’s warm falsetto to create stunning moments of rumination. They run in the same vein as early Bon Iver works, providing gentle honesty and an easy air that you can just disappear into. Sometimes, refined simplicity just works. After their 2019 LP Forever Turned Around, the band went on to record an assortment of obscure covers. Sure enough, two covers became three, three became 10, then 10 became Candid. Thankfully, its winsomeness proved delightful.
The record kicks off with Kelela’s Bank Head. Honestly, if Candid wasn’t a cover album, I would have assumed this was an original. Like all the record, Whitney makes the song their own: the mark of a good cover album. Synth is replaced with keys and electronic drums with an on-beat bass drum kick. Layer on the cute brass and falsetto, and suddenly you have a track entirely indie, entirely Whitney.
Next is A.M. AM, originally an ’80s-inspired cut by Damien Jurado, drenched in pillowy reverb. Whitney transform it into a profound confession with a pulse, featuring a pretty slick vocal run in the chorus. “I was yours all along, I was yours all along,” Ehrlich sings.
The new Whitney album 'Candid' is really good. Most of the songs aren't that famous so you'd be forgiven for not even knowing it's a covers record but then 'Country Roads' kicks in with Waxahatchee and all bets are off.
— Niam (@NiamSuggitt) August 15, 2020
The next track indicates shows that the duo were having a bit too much fun in the studio, opting to cover the best country tune of all time, Take Me Home, Country Roads. It’s a song so good, so cheesy, so meme-able, it would be near impossible to fuck it up. Thank god they didn’t, with the track even featuring the talents of indie-heavyweight Waxahatchee. Giving this Denver classic a Whitney do-over is totally unnecessary but I’m sure it was convivial for all involved.
Moving down the tracklist, Whitney cover the ambient and infectious Strange Overtones by David Byrne and Brian Eno. It’s an interesting choice that is perhaps too upbeat for the Whitney makeover. The originally ambient production is replaced by some cutting, muted acoustic guitar and organ. It’s a clever switch up but feels slightly out of place on the record. Those pinched falsetto-folk vocals just aren’t quite ready to carry the dance numbers.
However, the next cover is near-perfect. Hammond Song, originally by ’70s folk trio The Roches, is humble refinement at its purest. The piano and guitar slow groove is hypnotic, boosted by some bridled drum work and tasty bass. Add in the gorgeous melody (sung in falsetto of course) and you have a soothing, euphoric cover for the ages. Hammond Song, just like the rest of Whitney’s selection, is not ambitious. The source material is respected and the restrain is commendable.
By the end of Candid’s 33-minute run, the sweet sounds of the Chicago boys honestly run a little tired. Overall though, this is a faithful cover album that doesn’t signal a band at wit’s end, more a band that understands their lane. If Whitney continue to refine their durably blissful tones, the next dose of originals should be equally enjoyable… if not even more.
Listen below:
Up next: Listen to Brian Eno’s Ambient 1: Music For Airports stretched out to last 6 hours.
