by Jesse Hudgins
L.S. Dunes is a group made up of members from other bands that released a phenomenal record in 2022 titled Past Lives. It was a hard-hitting, in-your-face effort that was grim and cynical throughout its 43-minute run time, reflecting on the state of the world through the eyes of singer Anthony Green. They followed up the record with a multitude of singles until, in October 2024, they announced their second album, Violet. Well, it’s here, and it doesn’t disappoint.
First and foremost, if you were expecting the in-your-face post-hardcore of Past Lives, change your expectations. Violet is a complete 180 from what was built in the first record. This was all intentional as the band has said they wanted to make something that was different and subvert expectations. That 180 is what makes me love this album even more because while it does have its moments of peak intensity, for the most part things are pulled back. This allows the musicianship and craftsmanship of the tiny details in each song to shine to an almost ethereal level. The title track, “Violet,” is a great example because while it comes in heavy, it takes a step back to let fantastic guitars bring it to a magical level, just for it to switch back to its original brashness in the break.
There are many moments of musical perfection throughout this album. From track to track, the band has put together intricate drums, bass, and guitar that make me appreciate it more. I have to give major props to the bass on this record. Songs like “I Can See Now,” “Machines,” and “Holograms” are just a few of the tracks that are led and driven by the bass from Tim Payne. It never gets old hearing the bass rip into the track either at the same time or right before the drums from Tucker Rule, which are easily early contenders for best drums of the year. What strikes me about Rule’s drumming on this record is that he plays what the song calls for. Sure, there are intricacies added throughout, but it isn’t something that overtakes the album or distracts the listener. It enhances the song that it’s a part of.
Thematically, Violet sets itself apart from Past Lives’ cynicism by being a hopeful album. Yes, the cynicism still exists but this record matures from the last by saying, “Yeah things kind of suck, but things will be okay.” You can hear that from the start with “Like Magik.” While it comes across as aimed at an individual who’s a light in someone’s life, you can easily twist that to represent life and the world itself.
Later in the record, you get a call to action from the group that things won’t change unless you do so on the track “Paper Tigers.” The chorus enhances that: “You’re gonna have to be the one that’s gonna change that; Remember, time doesn’t change our odds.” This filled me with hope as a listener, allowing me to feel empowered in my own life knowing that I can change things and it’s up to me to do so.
The final track on the record, “Forgiveness,” caps off these feelings of hope with the final line of the chorus: “Will keep on, pushing on and on until the memories dead.” While the use of death can give this line a negative connotation, I think the hope is that no matter how bad things get, we’ll keep pushing on and on while we continue to live our best lives.
All the lyrics in each song are brought to the highest levels by vocalist Anthony Green. Before listening to L.S. Dunes, I was only vaguely familiar with Saosin and Circa Survive. Through L.S. Dunes, I currently consider Green as one of my favorite vocalists. The way he controls his vocals going from soft to scream hits like nothing else. It isn’t anything new to music, but Green adds his own special flare to it that just makes it feel majestic even if he is screaming. To be able to go from a track as light (for the band) as “Machines” to something as in-your-face as “You Deserve To Be Haunted” just brings a grin to my face.
The use of harmonies on this record is nothing short of superb. There are too many moments to count where the vocals, background, and main send me to a higher plane of existence because of how they’re blended. I even think the use of screamed vocals and regularly sung vocals won’t be as jarring as they can sometimes be to folks who don’t typically listen to songs with screamed vocals.
Overall, Violet is the perfect follow-up to Past Lives. It matures thematically and musically while not straying too far away and potentially upsetting fans of their previous work. It’s bold to say, but this is already on my list of potential albums of the year. Of course, there’s more to come throughout the year, but this release is undeniable in its quality. In a time where many can use some hope in life, this record provides it. I highly recommend it.
