The Criticals Embrace Their Inner Rockstar With Debut Record
Review ★ Kenzie Gay ★ @kenzwrites ★ 5 Minutes
Within the sea of rock, indie, alternative, pop, and country artists that congest the streets and talents of Nashville, Tennessee, I’ve somehow been able to nestle myself in a very specific scene there made up of varying rock and rock-adjacent bands despite the fact that I have 1: never had the privilege of visiting Nashville and 2: I live over 500 miles away up in West Michigan. The Thing With Feathers, Bird and Byron, Ace Monroe, and Parrotfish are just a select few of the lovely bands making up this scene however today we are focusing on one band and one band only: The Criticals.
Officially formed in 2019, The Criticals stand out on their own for both their unique spin on rock and the fact that they’re actually born and raised in Nashville unlike many of the other acts in their immediate scene. Recording-wise, The Criticals are a duo composed of long time friends Parker Forbes (vox) and Cole Shugart (lead guitar) but during their uptick in live shows over the last few years, their backing band made up of Michael Meadows (bass), Caleb Hughes (drums), Augustus Caroll (guitar), and Henry Henson (guitar, keys) have received recognition from fans and listeners, too. Today, September 12th, the band has finally dropped their debut self-titled record. This follows their 2023 EP Front Door Confrontations, a collection that was actually one of my first assignments as a music journalist, and it comes in at 13 tracks - my lucky number.
The Criticals. Left photo via Landon Edwards, right photo via Laurel Kreuter/Samantha Macconnachie
Out of all 13, there are really 4 songs that I think stand out and represent the record in a well-rounded manner - which, for the record, I had a very difficult time narrowing down. The first of those songs is track 6, Mother of Style. Previously released as a single back in January, Mother of Style possesses an indie-surf sort of attitude that juxtaposes the typical sound The Criticals have established themselves in both in and outside of this record. The song’s instrumentals are nothing short of amazing but the real star in this track is the lyricism. The piece is focused around someone they refer to as Sydney (could be a moniker, could not be) who appears to be a person they look up to for her contributions to their community, its art, and general friendship. They call her the mother of style, hence the name, and allude to the fact that she has moved on from an energetic, art-based lifestyle in exchange for a simpler one on a farm. In a nutshell, it seems to be an ode to a friend and potential mentor that’s wrapped up in groovy sass courtesy of Forbes’ vocal technique and others’ instrumental quirks.
The next mention-worthy song is track 8, Danish Eyes. Another single from earlier this year that highlights Forbes’ and Shugart’s writing style, Danish Eyes is the utter definition of yearning even when it’s toxic or draining on its own. Forbes sings in the opening verses “baby, let me be your dog. I’ve been watching it taking me over. We could ring around the rosie to the backside. Exposin’ my underexposure, destroyed by your Danish eyes”, emphasizing the fact that he (or whatever narrator) is, in lewd words, whipped for the haver of these so called Danish eyes. This is further supported later on in the song when “you never leave me worse than where I was. You suck me stone cold dry with your touch. You liberate me, I’m destroyed by your Danish eyes” is stated.
Treat Ya Better, track 11, is another high point of The Criticals. Many fans may already recognize this song since it was actually released in the band’s 2019 EP titled Mimosa Hygiene. It is now marked as Treat Ya Better (Original) since this new album has reimagined it along with other older pieces such as Absinthe (track 3), Good Lookin’ (track 4), and High Life Clinic (track 12 - keep reading!). In this freshened version of Treat Ya Better, The Criticals really crank up the passion. Featuring some female backing vocalists, the song potentially revolves around the narrator and his longing to be with someone who is already taken. The narrator insists that he could treat her better only to find himself in a sobering realization at the end that she doesn’t treat him well, either, and that he deserves reciprocation amongst other things that she hasn’t provided. Shugart makes his mark on this piece with a wicked guitar solo that puts all others to shame, too, and it really emphasizes the mixed emotions and tension associated with Treat Ya Better’s message.
Last but definitely not least is track 12, High Life Clinic. This one was hands down my favorite off of The Criticals because of its in-your-face approach at hard rock and its rebellion that makes it the perfect soundtrack for any action-packed scene in a movie or tv show. I couldn’t help but compare this piece to Green Day and Beck for its guitar and vocal approach. The vocals and coinciding lyrics are taut and fiery, setting an angry and almost violent scene as Forbes sings lines like “no grabbing hair and cock shots don’t seem fair. Fight like a gentleman and look me in the eye” and “you don’t hate me like you used to. You got your nosebleed on my new shoes”. Again, Shugart brings an angsty attitude to the table which elevates the number into a twisted, stimulating, borderline punk banger.
Generally speaking, The Criticals is a fantastic album that I feel perfectly balances older styles of rock (Green Day, Beck, The Rolling Stones to name a few) and newer ones (Arctic Monkeys, The Strokes) which truly showcases the diversity and future of such a profound genre. Though I only delved into 4 of the songs, all 12 are worth your undivided time and attention due to Shugart and Forbes’ raw talent, dedication, and innovation alongside producer Jonathan Gilmore’s creative direction. I can only hope to catch them live one day and they are certainly a band I feel honored to have on my roster.
After today’s release, those interested can catch The Criticals on tour as early as next week on their headlining tour with opening acts Common People, New Translations, and co-headliners Ace Monroe (mentioned above). The band will hit cities such as Los Angeles, Kansas City, Boston, New York, and their home turf of Nashville over the course of a month. If you’re unable to attend a show this time around then you can support the band by purchasing or streaming The Criticals at the links below.
