"The mix of Americana dust and dream-pop gauze has never sounded this strong." - PopMatters
If Speck Mountain's first two albums sound like they were recorded underwater, their third studio release, Badwater, finds the band washed ashore onto a dusty sun-bleached desert. Under this big new sky, guitars are tighter and percussion is prismatic: white heat makes white light. True to Speck Mountain's sound, Marie-Claire Balabanian's soulful, breathy vocals heat the record, providing the warm tonal blanket to co-writer Karl Briedrick's swirling, luminous guitars – both swelling together in search of some distant release.
In this new landscape of cracked, brown earth, a steady gallop beats, a head-nodding amble. Feral, fleeting, wild electricity crackling in the air – a building heat in search of relief. No holding back. We are offered the redemptive baptism, like a coming desert downpour. Balabanian's croon in the closing track of Badwater sounds off like an invocation: Lay down and watch the storm.