Good Looking Friends
Good Looking Friends is a 4-piece (!?) (Zach, Sean, Adam, Shelley, and fri… Read Full Bio ↴Good Looking Friends is a 4-piece (!?) (Zach, Sean, Adam, Shelley, and friends.) post-rock influenced indie rock / emo band from Brooklyn, New York. Regardless of what their name may suggest, their music portrays people who feel like they just don’t quite belong, struggling with the anxiety to fit in in this gigantic, upside down world. Their lyrical complexity is paired with their ability to create energetic, yet atmospheric, almost ambient instrumentals that draw people in and just make them want to think. In June 2016, they released the EP, “You Won’t Die,” a collection of songs that delve into the life in New York City. The follow-up “You Won” was released in Novemember 2016 and shows a harder side to this band, with harsher and more emotional vocals. Elaborating on the themes from “You Won’t Die,” the last two tracks, “End of the World” and “Fallowfield” (streaming) lead into each other and immerse the listener in what really is a perfect soundtrack to the end of the world. Led by the intensity of vocalist/guitarist Zachary Fischer’s powerful lyrics and voice, the four minutes of ambient noise then bursts, full of color, in a dynamic finale.
Their 2018 debut full-length Settle In, Decay, is the best introduction to their multifaceted, emo-by-way-of-everything-that’s-not-emo sound. There are some twinkles, some Algernon-esque inflections, and cover art that basks in the genre’s cloudy, urban aesthetic. But in many ways, Decay sounds like its actively avoiding all of the recent emo trends, simply using the idiom’s confessional lyricism and drab moods as a springboard to leap toward other sounds.
Their 2018 debut full-length Settle In, Decay, is the best introduction to their multifaceted, emo-by-way-of-everything-that’s-not-emo sound. There are some twinkles, some Algernon-esque inflections, and cover art that basks in the genre’s cloudy, urban aesthetic. But in many ways, Decay sounds like its actively avoiding all of the recent emo trends, simply using the idiom’s confessional lyricism and drab moods as a springboard to leap toward other sounds.
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