After bursting onto the scene three years ago, gaining critical recognition, Wet became one of the most talked about acts of 2015. Now the highly anticipated debut album from the Brooklyn-based trio has arrived.
Having gently littered the world with singles from Don’t You over the past 12 months or so, Marty Sulkow, Joe Valle and Kelly Zutrau set the stage for a knockout LP and they have not disappointed. Like Adele, lyrics are conversation based rather than a lecture. They are serious, yet careful and confident.
Love is Wet’s signature scrawled across the album. Loss. Faith. Joy. All entwined with love.
Despite no longer wanting to be in a relationship, Zutrau raises her hands in confessing, “It’s just not right, it’s killing me tonight” on ‘Don’t Wanna Be Your Girl’. A drum then gently thumps of a broken heart beat, which leaves you with a lump in your throat. No blame is laid. Feelings are just; honest and deliberate.
On ‘Weak’ echoes of “Baby, baby, baby” ring out, yet it’s not condescending or a come on but rather a plea; a gentle pain begging a lover to stay. Intimacy is detailed in a deliberate and calm manner rather than explicitly like, say, Rihanna. There’s no specific reference to sex or physical connection, but rather one that is emotional and intellectual.
‘Move Me’ is more than happiness, it’s delirium. Zutrau’s voice is haunting but confident as she gushes over a lover. Her call to action and her intent are transparent and without pretence. It’s pure love. ‘Island’ and ‘It’s All In Vain’ show off Zutrau’s range, while ‘All The Ways’ is upbeat, dreamy indie-pop about being at the intersection of falling for someone but being unable to let them in.
Wet blur the lines by being both joyous and cathartic. It submerges, drowns and rescues maturely and simply. Guitars pluck of R&B influences, percussion is smooth and meagre and textured with a complexity that intrigues. At times I feel like I’ve been stripped bare but instead of being left in the cold I’m warmed by a glow of hope.
The album cover conjures up a double entendre: is the shadow a mark of someone leaving or someone reaching out? The question belies the albums contents; a record which will mend hearts or perhaps ease a conscious as it gently reverbs across the world. ‘Don’t You’, is it a query or statement? You can’t say they haven’t thought of, and given us, everything. This is a debut which, like lace, is of a deliberate and intricate weave which will surely be listened to fondly for years to come.
In a word: Stunning
Highlights: It’s All In Vain, Move Me, All The Ways
For lovers of: London Grammar, The Jezebels, Imogen Heap