Since the release of their viral first single, “Chaise Longue,” indie rock band Wet Leg have been generating serious buzz for their debut album.
With their first-ever Toronto show at The Opera House this past March selling out before it was eventually postponed due to pandemic restrictions, it is clear that the Isle of Wight band is making a name for themselves overseas, and have definitely proved themselves worthy of such fast success with the collection of songs on their self-titled debut Wet Leg.
The album essentially feels like the diary of a twenty-something; It features songs detailing teeth-pulling house parties, unwanted advances, spiraling down social media rabbit holes and ultimately feeling like you’ve taken the wrong path in life.
While the lyrical content can get repetitive, the existential subject matter is paired with thrilling indie rock instrumentals and tongue-in-cheek lyrics that allow the entries to feel like anthems. The album shifts from tracks of self-doubt and anxiety to rebellious break-up tunes, forgetting politeness and hitting exes where it hurts.
Opening track “Being in Love” sounds straight out of the early 2000s indie scene, its two-chord soft rock instrumental and steady bass accompanying lyrics comparing being in love to being on the verge of a mental breakdown.
“Chaise Longue” is equipped with Mean Girls references and witty critique of the rock-star life, backed by an earworm buzzing guitar and persistent bass riff that compliment the monotone vocal style.
“Angelica” brings listeners to the worst house party on earth, the lyrics describing feeling out of place and being sick of having the same boring conversations night after night. Its bright, heavy, Strokes-influenced guitar tone, booming bass and drums, and lilting vocals back the notion of trying to convince yourself you’re having fun at a party you would rather die than be at.
Although the band tends to lean towards their beloved post-punk instrumentals, there is some variance throughout the record that shows a bit of versatility, though not much of an attempt at branching out is made.
“Loving You” takes on an electric feel, with layered falsetto vocals, monotonous bass, twinkling guitar and raspy synths. The song pairs angry lyrics of not wanting to pretend to be friends with a toxic ex, with a very soft, electric pop instrumental, proving Wet Leg has the ability to take on a softer sound, even if they fall flat on other attempts on the record.
Album closer “Too Late Now” is probably the song that perfectly encapsulates Wet Leg for those who haven’t yet listened. Their signature lead bassline, shrill guitar and building drums create a restlessness to accompany stream of consciousness lyrics discussing the pressure of adulthood, and ending with the false hope that everything can be solved by a bubble bath and ten-minute meditation.
If you’re aching to dance to some witty, bass-heavy indie rock, you can catch Wet Leg in Toronto at their soon-to-be announced postponed date, or in Montreal at Osheaga Festival this summer.