I am an absolute sucker for Sarah Records bands. I first came across the label after seeing a picture of The Field Mice on Instagram. Thinking that they looked cool, and knowing that the band Seapony had covered one of their songs, I gave them a listen and was blown away. The jangly guitars, the punchy drum machines, the melodic bass, and the poetic lyrics quickly endeared me to the late 80’s-early 90’s indie band. Once I had dug through their catalogue, I began checking out the rest of Sarah Records’ roster, finding such amazing bands as Another Sunny Day, Brighter, and 14 Iced Bears. All these bands had vastly different yet oddly similar sounds, and I began searching for any sort of modern-day equivalent.
Despite my keen eye, The Umbrellas still hit me like a brick wall. Again finding them through a random encounter on Instagram, I noted the cool, understated indie-rock aesthetic of the name and decided to give them a listen. On top of this, I saw that they were part of Slumberland Records, another fantastic indie-rock label featuring, at least at some point, The Pains Of Being Pure At Heart and Crystal Stilts. Seeing that The Umbrellas had a new self-titled debut album out, I dove in headfirst.
Immediately from the first chords of opener “Lonely,” I was transported back to the magical moment that I had stumbled upon Sarah Records back in high school. The nostalgia was visceral and quickly had me hooked. Jangly guitars bounced around a persistent drumbeat, and Matt Ferrera’s notably Field Mice-esque singing style was spot on. The lyrics are beautifully simple, describing the insecurities stemming from a relationship gone wrong. Morgan Stanley also provides vocals on this song, her voice floating ethereally through the flickering guitar notes. Overall, “Lonely” is an incredible opener, and should they ever visit the East Coast, I would love to hear it live.
As the album continues, The Umbrellas show off other facets of their songwriting strengths. The song “It’s True” is a delicate, intimate acoustic ballad, with raw vocals traded by Ferrera and Stanley as melancholy chords chug beneath them. The two singers sing both separately and in harmony throughout the song, like two birds in a late summer sky. “She Buys Herself Flowers,” one of the singles off of the album, features R.E.M. style guitars throughout that occasionally show signs of The Byrds and even early surf music. Stanley’s frank vocals are on full display here, as are a set of remarkably clever and catchy lyrics. Later in the album, “Never Available” features sunny guitar arpeggios and 60’s psychedelic style percussion. Gentle keys also buoy the song and provide an extra layer of atmosphere to the song. The simple refrain of, “You’re never available,” is an instant earworm and ensures that the song sticks in the memory of the listener.
Considering that this is their first album, I am shocked at how masterful The Umbrellas’ songwriting sounds. It is impressive how well they conveyed their influences while also adding a modern touch to a classic sound. If the album was simply a shameless ripoff, I probably wouldn’t have liked it as much. After all, The Field Mice already existed. However, The Umbrellas utilize enough nostalgia to captivate listeners while providing enough nuance to stand apart from the crowd. I tip my hat to this great new band, and I cannot wait to hear what else they have to offer.
