Making its debut this past February, Eerie Wanda joins a list of new artists soon to make airwaves on WKNC. Their album, titled “Hum,” is a 13-track work of indie-rock dream-pop that draws comparison to modern rock artists such as Best Coast, Des Ark and Mazzy Star.
To understand the album’s influences and themes, a word about the band itself is necessary. Eerie Wanda is the continuation of a music project started by lead vocalist Marina Tadic, who also provides songwriting talents. Tadic is of Croatian and Dutch descent, as are fellow members Jasper Verhulst, Bram Vervaet and Nic Niggebrugge, on bass, guitar and drums, respectively. Tadic started out as many artists do, recording demos of her songs in her bedroom and passing them around to friends and family. After transitioning through several other bands, she eventually arrived at the current lineup that makes up Eerie Wanda.
“Hum” benefits from this backstory well. Traces of Croatian and Dutch music traditions can be found scattered throughout the album, creeping into vocal runs and background percussion ever so slightly. While the album is very clearly based on primarily Western influences, the inclusion of eastern European techniques provides an interesting layer of depth straightaway. “Hum” is set apart from other albums of its genre for its ability to so naturally and interestingly blend these ideas. While the effect is neither obvious nor jarring, it is nonetheless appreciated as a valuable addition to the album. Alongside Tadic’s charming accent, it helps to create a sense of character.
As for the specifics, Eerie Wanda uses a traditional setup of guitar, drums and bass. The rhythm guitar is there mostly for accentuation, with almost no distortion and a decent amount of reverb and decay. The lead guitars easily overshadow it and become the main focus each song, battling for supremacy alongside Tadic’s beautifully tracking vocals. They are clean throughout the album, and complement each other well when playing harmonious riffs alongside each other. Featuring an excellent display of mastering, the album keeps all instruments, including Tadic’s vocals, at a consistently audible hush.
While most tracks are primarily upbeat, “Hum” feels like the equivalent of a peaceful Sunday stroll. Smooth is a great overall term for this band’s sound. It’s peaceful, but not boring, sweet, but saccharine, and longing, but not moody. At no point does the album come across as trying too hard to be an “indie darling.” It’s simply sincere music. It’s calm, yet has a bit of pep in its step.
Outside of this, “Hum” isn’t too wildly different from most indie dream-pop. It has its own value and staying power, but it’s not breaking any boundaries or reinventing the genre. “Hum” is a beautiful cloudy day, an upbeat adventure or a long, peaceful walk. And really, sometimes that’s all you need in an album.
Anyone longing for the perfect album to listen to during a rainy summer day will be in luck. This album is mellow enough to chill out the tightest strung “Type A” personality, with enough character to charm a smile onto their face in the process. Sometimes, the best way to de-stress is to “Hum” as you walk.
