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SPACEY JANE 'HERE COMES EVERYBODY' REVIEW

☆☆☆☆

Image: Nick McKinlay.


It’s no easy feat following up an acclaimed debut album, however Perth hitmakers Spacey Jane have delivered a solid body of work with their sophomore effort, Here Comes Everybody. Arriving exactly almost two years after their ARIA gold certified album Sunlight, which earned them five entries into triple j’s Hottest 100, we’re treated to a collection of songs that serves as a documentation and navigating tool of the anxieties, changes and perseverance experienced as you arrive at adulthood.


Opening with Sitting Up, we’re instantly met with the bands distinct indie-rock sonics, paired with Konstantin Kersting’s pinpoint production. Frontman Caleb Harper's captivating vocals soar above glimmering guitar work, whilst memorable melodies bringing the songs confessional lyricism to life. The song explored the uneasy feelings of questioning your place in the world and hiding your true self away from those around you, setting the scene for the honest and relatable body of work that is to follow. The band enlists Grammy Award-winning producer Rich Costey (The Killers, Phoebe Bridgers) on Lunchtime, pairing bright and driving sonics that captures the songs thematic standpoint of watching life pass you by with driving percussion and Harper's urgent vocals.



The introspective nature of Lots Of Nothing showcases the growth and more self-assured approach to songwriting from Harper, in the way of baring his most inner thoughts to create moments audiences can grasp on to and feel understood. This continues in Haircut, unpacking the tropes of how we change ourselves to prove to others that we’re ok and experiencing personal growth. Sure, at times there’s a banal undertone to particular lines, but that feeds into the commentary of the weight of generational burden placed upon younger generations, and the draining mental state it can place upon us.


The record finds its more down tempo moments with Clean My Car and It’s Been A Long Day, with both tracks offering confessional and intimate lyricism that explore life following the demise of a relationship. The latter captures unspoken words to a loved one, but unable to find the words in the moment, whilst Clean My Car touches on mundane activities of life whilst trying to move on. Bothers Me brings a sense of brit-pop before leaning back into more subdued indie-rock that flows into Not What You Paid For. Closing with Pulling Through, the band send a final message of love and support, offering encouraging lyricism that feels like an embrace from an old friend above a whistle melody that will be stuck in your head.



One interesting note on the record is that Harper began penning the tracks prior to the release of Sunlight in 2020, removing any expectations around what the record would become. Whilst the album contains inward looking moments, this time around Spacey Jane broaden their scope conceptually and sonically. Tackling global topics felt throughout younger generations, there are engaging moments that offer solace in the way only music can. Lush and shimmering instrumentation drive the record, creating a warm and nostalgic listening experience that feels homely through glowing melodies. With Here Comes Everybody, Spacey Jane have conquered the sophomore slump.



4/5 Stars.


Here Comes Everybody is out now!