ASUCD Entertainment Council is excited to partner with the Mondavi Center to bring the first-ever winter concert, Petrichor, featuring Beach Fossils. (Petrichor is a pleasant smell that frequently accompanies the first rain after a long period of warm, dry weather.)
The long-awaited return of Brooklyn’s Beach Fossils, Somersault showcases a band in bloom. Charting into new musical territory with a refined songwriting style, it’s an album that captures flashes of life in New York grounded in personal experience.
The band’s self-titled 2010 debut established a sound that was both minimal and enveloping. With Somersault, the group’s first release since 2013’s Clash the Truth, Beach Fossils have channeled years of experimentation into expansion and reinvention. Augmented with more complex instrumentation, including string arrangements, piano, harpsichord, flute, and sax, the new songs offer multi-layered pop guided by sharp, poignant, and honest lyrics.
As the band’s first release on Dustin Payseur’s new label Bayonet Records, which he co-owns with wife Kate Garcia—the group made the most of their newfound independence, investing ample time in expanding its range both musically and lyrically. While Payseur handled the bulk of the songwriting duties in the past, Somersault is a true collaboration between the founding member and bandmates, Jack Doyle Smith and Tommy Davidson. The new songs speak to a more fluid, eclectic sound, filled with lush compositions formed by studio experiments and sampling of the band’s own recordings.
Orchestral pop gem “Saint Ivy” shines with plucked strings, buoyant basslines and a propulsive, wayward, guitar. “Tangerine,” a driving, tightly wound melody, rushes forward and briefly leaves the ground due to the gossamer guest vocals of Slowdive’s Rachel Goswell. The effervescent “Rise,” which hinges on the spoken word of Gavin Mays (Cities Aviv) discussing a failed relationship, hangs, like many recent breakups, in a sense of suspension. The cloudy, wistful “Social Jetlag,” bustling with samples of crowded streets, features the type of candid, off-the-cuff lyrics that make the entire effort immediately illuminating.
Recorded at multiple studios across New York City, a cabin in upstate New York, and even Los Angeles (including the home studio of Jonathan Rado of Foxygen, who helped engineer part of the album), Somersault turns the newfound chemistry between the trio into a sonic tapestry. Due to the variety of sessions and recording locations, the album was a Frankenstein-like series of reworking and reimagining songs. As the group pieced together different parts in a cycle of creation and co-option, and built out more elaborate songs track by track, the process became more reminiscent of a record created via sampling and arranging than one built by simply grinding out riffs. The long-simmering album, filled with breezy music both melancholic and uplifting, sees the band channeling their voices and honing their craft.
Flowing between shimmering compositions and immersive soundscapes, Somersault evokes the laid-back mood of a warm, breezy city night, the air crackling with humidity and excitement. These songs pulse and pull, capturing a blend of promise and heartache. It’s beautiful and layered, a refined, sweeping creation that threads together numerous styles, textures, and themes into a refreshing, singular vision.