Listening to Zeahorse’s self-titled EP is like going on a drug trip: their music is a combination of highs and lows. Grungy and consistently heavy, they combine solid bass lines with rough vocals, but manage to sporadically thread through melodic guitar lines to complement the sound. When I say melodic, I don’t mean sweet, honeyed melodies; I mean psychedelic, let’s-go-get-stoned guitar lines.
The EP kicks off with the scratchy guitar and blasé vocals of ‘Spider Stole my Fungus’. It’s well-paced, with good drums and dark, dramatic bass lines. ‘Rabbit Hole’, with its harsh, repetitive chorus and heavy guitar, is my favourite track on the album. There’s something addictive about their sound, which is surprisingly catchy.
They manage to switch between time-signatures effortlessly, slowing down their music to a sluggish, stoned-like rhythm and speeding it up again. The constantly changing tempo never sounds messy, but rather completely intentional: Zeahorse’s music is well-planned and well-executed.
‘Jesus’ carries on this same sedate sound, while ‘Victim’ starts more upbeat, with a real teenager vibe. Throughout the song it unexpectedly switches again to their slower, darker rhythm, with Morgan Anthony’s vocals serious and sombre. It changes again near the end, incorporating a melodic tune; they manage to capture several states of mind in one song. This pattern continues throughout Zeahorse’s EP.
‘Morphine Pie’ starts with emphasised rolling beats and rough electric guitar. There is fluent switching between a more upbeat, melodious sound and a darker, rougher rhythm. They utilise electric guitar effects with rough rock: think Chili Peppers on LSD.
The EP finishes with echoic vocals and typically psychedelic guitar lines in ‘Big Tall Trees’. Evolving from slower to faster and back again, the accompanying instrumental parts keep up perfectly. It’s thoughtful and sophisticated song-writing.