Exnations is shrouded in a certain enigma, the kind that conjures questions like “How is this band not huge already?” Though the Brooklyn trio’s discography consists of two EPs (the first released in 2018), the craftsmanship on Exnations’ songs has no trace of a dilettante mindset. “Knife”, a standalone single, may very well be my favorite song of any band released this year. So, it’s a complete mystery how, with ready access to the NY market, Exnations is still largely unknown.
Thankfully, that hasn’t deterred the band in the slightest from simply making good art – whether songs or their seemingly-endless stream of music videos. Exnations might be best described as indie-pop, and it’s an accurate way to classify their artistic approach. The masses should like them, but they aren’t living for the dopamine rush of social media engagement. They’ve embraced the freedom of the DIY scene.
Pink Haze, the group’s latest EP, is certainly the pinnacle of their work to date. It’s moody, nostalgic, somber, catchy, and so much more. It’s a reflection of ephemera, akin to the Japanese expression mono no aware. It’s an awareness that beauty and pain are often inseparable in the dilation of time.
Ultimately, there’s a pervasive cinematic vibe here as well. Even if you have seen Exnations’ slew of videos, it’s hard not to imagine other scenarios paired with the six tracks on the EP. 80s prom. Standing on a rainy city street at night. Spending your anniversary alone. Hanging out at an amusement park. The group carefully balance youthful longing with the pain of loss. The universal nature of these feelings, along with the actual compositions, make it easy for these songs to feel like soundtrack to a plurality of life circumstances.
Exnations may have presented a strong EP to the heart, but they didn’t neglect the mind by any stretch. The trio have found a way to craft dense songs that still translate well live. Reverberating guitar, shimmering synths, prominent bass, and tight drumming are the quintessential core of the band’s sound, paired with frontman Sal Mastrocola’s soothing vocals for a sound that is dynamic but never too aggressive. Needless to say, the songs are carefully composed and feel cohesive lined back to back. The lyrics are personal, juggling themes of love, loss, loneliness, joy, and moving forward.
“John Hughes Movie Soundtrack” is perhaps the highlight track of the album. It’s one of the faster tracks, and contributions from all three members are excellent. Taylor Hughes’ drumming is exemplary; John O’Neill’s bass parts are punchy; Sal Mastrocola’s riffs are catchy. It’s a great starting point for new listeners.
Other tracks still hold their own, though. “Tether” is a strong opener and sets the emotional tone of the EP. “Slow Erosion” is a slower track and showcases the band’s use of negative space. “Dreaming Still” is a hazy ballad outro. The emotional context of the album is only strengthened by their ability to change page. It’s akin to driving on a city street after spending hours on the highway, where you need an extra degree of awareness to adjust to the speed limit. The slower songs here manage to demand even more attention before of how the EP is laid out, and that makes “Dreaming Still” an especially-devastating track from an emotional perspective.
Pink Haze is strewn with intelligent retro-pop with equal shades of cinematic clout and dance floor sensibility. It’s a versatile album that is primed to be one of the highlights of 2019.
Not a Sound 