The Ophelias sound like they are just getting to their best work on Spring Grove, and it is thrilling to hear them push themselves to new heights.
In Paul Thomas Anderson‘s melodramatic masterpiece Magnolia, more than one character utters the phrase, “We may be through with the past, but the past ain’t through with us.” This could be the thesis of the Ophelias’ latest and best record, Spring Grove. The press release proclaims that this collection contains “zero songs about break-ups”, somewhat cheekily alluding to their reputation for wrenching songs about relationships.
Instead, lead singer Spencer Peppet found herself inspired by conversations real and imagined with ex-lovers, ex-friends, and former coworkers. Wrestling with these ghosts of the past is the central theme of the record, which takes its name from a cemetery in their hometown of Cincinnati.
Spring Grove is the defining statement the Ophelias have been steadily working toward, a convergence of the best songwriting and production in their impressive discography. Everything is just a little better this time out. Peppet’s hooks have never been stronger, and her voice has a new confidence in it, even in the most delicate moments.
Her lyrics are full of vivid images of clouds hanging around as the things that went unsaid, unsettling images of eating organs, and out-of-body experiences. These more propulsive songs give Mic Adams opportunities to shine, and together with bassist Jo Shaffer, they ground the songs and deliver some of the record’s most rewarding new wrinkles in The Ophelias’ sound.
Julien Baker, who sang on Crocus highlight “Neil Young on High”, served as producer this time out, and it is a potent match. The Ophelias have been progressing toward a heavier, more guitar-forward sound on record, but this has always been part of their live shows. Anyone who has seen them perform has seen the joy on their faces when they crank up the intensity.
There have been hints of this on earlier records, such as “Becoming a Nun”, another essential track from Crocus. Last year’s Ribbon EP was the closest they have come to capturing the energy and intensity from the stage in the studio. “Cumulonimbus” sounds like the bridge between their previous records and their new sound, building to a big, irresistible chorus.
The heavier, guitar-forward songs make Spring Grove soar. The Ophelias sound more inspired and energized than they ever have. “Sharpshooter” and “Salome” are two of the catchiest, most insistent songs in their discography. The same goes for “Crow”, an instantly memorable track with a woozy, warm sound that retains that driving percussion. Rocking out sounds fabulous on the Ophelias, and these will surely be setlist highlights when they play these new songs live.
However, the Ophelias haven’t wholly abandoned what fans have come to love from them. “Open Sky” and “Forcefed” have a rewarding familiarity that amps up the atmosphere to stand apart. “Parade” is another signature Ophelias track, a somber, pretty ballad that takes its place among their more heartrending songs. “Cicada” is another success in that vein, but contains an explosive middle section before receding. “Gardenia” has a gauzy quality; this added texture sounds terrific. Andrea Guttman-Fuentes’ violin has always helped the group stand apart; on this track, she shines brightest.
The closer, “Shapes”, is another song that delivers the melancholy folk on which the group built their reputation. By the end of Spring Grove, Peppet is putting these ghosts behind her, coming to a decision to “try my best to let things just pass”. The Ophelias sound like they are just getting to their best work on Spring Grove, and it’s thrilling to hear them push themselves to new heights. It is one of the essential records of the year to date.