Tell Me That It’s Over by Wallows
Wallows’ 80s inspired sophomore release is overproduced and underachieves
By: Abby Vela
It’s always a bit disheartening when a music artist that you’ve grown to enjoy has a misfire release. Wallows’ latest album, “Tell Me That It’s Over,” is my newest example of this phenomenon. It’s the overwhelming feeling that your hopes and dreams have been crushed, if I’m to be dramatic, but it’s (at least partly) true.
Their debut album, “Nothing Happens,” was a defining album of late 2010s indie music, keeping a fantastic balance between the crunchy DIY-indie sound and the addition of synths and horn sections. It’s one of those albums that I find myself coming back to every single springtime since its release in 2019. Their quarantine EP release, “Remote,” felt very left-field in comparison to “Nothing Happens” with its heavy use of 80s synths, electric drums, autotune, and punchy sound effects that remind me of vintage video games and cartoons. While I was a bit disappointed in the change, it’s totally understandable. With limited resources and movement available during quarantine, as well as the grapple that the internet and online media had on our lives, making music inspired by what’s at your disposal and what’s nostalgic makes complete sense.
That being said, I didn’t really know what to expect with “Tell Me That It’s Over”; would it mirror Wallows’ older releases? Would they keep developing the 80s synth sound? Would they go in a completely different direction?
“Tell Me That It’s Over,” while not being completely and utterly terrible, definitely disappointed me. The sound Wallows crafted in “Remote” is honed further and refined, and although the 80s inspiration is much more subtle, I find that this subtlety makes it even more forgettable and annoying. At least with “Remote,” the band really leaned into the overproduction of it all, making it a bit comical. With this new release, songs like “Hard to Believe” and “At the End of the Day” go halfway, trying to be subtle, on the production of pretty much everything: muffled vocal effects, overdriven guitars, and shimmering synths. If these production choices weren’t used together and were the statement pieces of the songs, it would be fine. However, putting all of these sounds together just muddles the composition, making it feel cluttered and taking away from the listening experience.
I found that the most enjoyable parts of this album were the songs that either completely leaned into the 80s sound or the songs that had little to none. “Missing Out” is reminiscent of 2000s pop-punk and DIY with the flavor of fun and chaotic instrumental section, reminding me a lot of “Do Not Wait” off their first album. On the exact opposite side of the spectrum, “Hurt Me” embraces the 80s pop and new wave sounds with sharp synths, echoing vocals, and funky bass lines. I wouldn’t be surprised if Talking Heads were the inspiration for this song, specifically the vibes off the album, “Speaking in Tongues.” The sound is so fun and youthful, contrasting with the painful longing of the lyrics, making “Hurts Me” a fantastic spring listen for those of us who want to feel like the “main character.”
One of the redeeming qualities of this album is the feeling of nostalgia that it creates. It’s not the type of nostalgia for childhood like in “Remote.” Rather, it feels a bit like high school in a totally not cringy and “I peaked in high school” type of way. There are a few slower ballads on “Tell Me That It’s Over” that showcase this perfectly. The two final songs on the album, “That’s What I Get” and “Guitar Romantic Search Adventure,” work perfectly together as a closeout for the album and reflect the feeling of junior and senior year of high school. Maybe this comes from my lack thereof a proper final year in high school, but these songs feel naive, juvenile, and hopeful in the way that coming-of-age films are: hopeful for the future.
Unfortunately, Wallows’ “Tell Me That It’s Over”is not a release I can see myself coming back to very often. I appreciate the 80s inspiration; however, the attempts to bring it into the 21st century fell flat. While there were many moments I overwhelmingly enjoyed, the album as a whole is overproduced in a way that ruins a cover-to-cover listening experience. I would hate to end on a negative note, though, so I will say that the songs that are good on this album are very good. A song or two will definitely be on my spring music rotation and give me hope for future releases. You have not lost me yet, Wallows!