July 30, 2021
Written By Dani Riddle
VIAL RELEASES THEIR HIGHLY ANTICIPATED ALBUM, "LOUDMOUTH"
VIAL is back with a bang. The high-powered Minneapolis band’s highly anticipated album, LOUDMOUTH, released by Get Better Records, will not disappoint fans eager for more of their signature tongue-in-cheek lyrics, brash vocals, and unapologetic punk ethos.
The album starts fast and doesn't once lose momentum. The opening track, Ego Death, is a smart, bitter, darkly funny song that mocks the male-centric, competitive culture of the music scene that VIAL often finds themselves in. “What about me makes you bitter? I won’t be your babysitter,” they sing in the second verse. As queer women and nonbinary musicians, VIAL is no stranger to negative experiences within the music scene, and they have never hesitated to sing and sometimes scream about those experiences.
The album starts fast and doesn't once lose momentum. The opening track, Ego Death, is a smart, bitter, darkly funny song that mocks the male-centric, competitive culture of the music scene that VIAL often finds themselves in. “What about me makes you bitter? I won’t be your babysitter,” they sing in the second verse. As queer women and nonbinary musicians, VIAL is no stranger to negative experiences within the music scene, and they have never hesitated to sing and sometimes scream about those experiences.
The second track, a sapphic anthem titled “Violet", clocks in at just 2:32, almost as short as the opening track. Violet succeeds in keeping up the energy and intensity coming off of Ego Death while telling a much sweeter story. The lyrics focus on the powerful, conflicting emotions of a queer crush: “Do you like girls or should I give up?” the prechorus asks, leading into a chorus full of tumultuous yearning- a classic queer emotion. The song also touches on themes like gender and homophobia. “I would disappoint my mama for you” is a refrain on the bridge, sung and almost yelled with joyful abandon. “I want to be your boyfriend,” is a repetitive hook within the chorus that captures the desire to experience a traditionally cisheterosexual role within a blatantly queer context.
Similar themes of queerness permeate the album: The next track, Planet Drool, opens with what sounds like a vitriolic nursery rhyme (“You’re not punk, you’re not queer, nobody even wants you here”) before launching into a frantic, drum-driven spiral. Riot Grrrl influences can be seen across VIAL’s discography, but this track fits perfectly, thematically and musically, into the iconic Riot Grrrl canon. Lined with sarcastic rage and bordering on feral, this is a song that was written to be screamed into the faces of a crowd that is screaming every lyric back, and I personally can’t wait to see it performed live.
Similar themes of queerness permeate the album: The next track, Planet Drool, opens with what sounds like a vitriolic nursery rhyme (“You’re not punk, you’re not queer, nobody even wants you here”) before launching into a frantic, drum-driven spiral. Riot Grrrl influences can be seen across VIAL’s discography, but this track fits perfectly, thematically and musically, into the iconic Riot Grrrl canon. Lined with sarcastic rage and bordering on feral, this is a song that was written to be screamed into the faces of a crowd that is screaming every lyric back, and I personally can’t wait to see it performed live.
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Mr. Fuck You is a scathing, insanely catchy breakup track, followed by Something More, the fifth single and the first place where the album seems to back off a bit. Strongly melodic and introspective, Something More doesn’t lose any momentum for it’s softer, lighter tone. Rather, it highlights the range of the band, and their ability to craft a groovy, feel good track to dance in your kitchen to. Featuring bouncy riffs and a bridge guitar solo that can only be described as 100% vibes, this is an irresistible track that listeners will have on repeat.
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Thumb is the longest track on the album at 3:23, but doesn’t suffer for it’s relative length. It continues the more laid-back feel of Something More, with softer drums and more synths than we have yet heard on the album. Plush harmonies pad the melancholic lyrics, and the bass stands out on this track, making it a perfect sad summer bop. Again, seeing the band highlight their range in style and ability is something that speaks to their artistry and skill.
In true VIAL style, things don’t stay down for long. Piss Punk picks the pace right back up with an exaggeratedly arrogant track tinged with vulnerability and frustration. In the outro, you can hear a crowd of overlapping male voices laughing and talking. “So horny,” “Strong female vocalist,” and “Just listen to some real music” stand out as mocking jokes over the cacophony before the crowd is told to “shut up”. “You’re so boring,” the outro repeats. In contrast to Thumb, Piss Punk is the shortest track on the album at 2:01, and sets up the next two tracks, Therapy II and Roadkill, perfectly.
In true VIAL style, things don’t stay down for long. Piss Punk picks the pace right back up with an exaggeratedly arrogant track tinged with vulnerability and frustration. In the outro, you can hear a crowd of overlapping male voices laughing and talking. “So horny,” “Strong female vocalist,” and “Just listen to some real music” stand out as mocking jokes over the cacophony before the crowd is told to “shut up”. “You’re so boring,” the outro repeats. In contrast to Thumb, Piss Punk is the shortest track on the album at 2:01, and sets up the next two tracks, Therapy II and Roadkill, perfectly.
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Both songs continue the themes of criticizing toxic masculinity and misogyny. “I can’t stand your condescending tone when you talk to me and every other woman in the scene,” Roadkill opens, continuing by threatening to hit misogynists with a car, track them down and even go to jail for killing them (just kidding, they’d totally get away).
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Vodka Lemonade is another nice change of pace, with upbeat pop punk sensibilities, smooth vocal harmonies, and a horn section that somehow fits perfectly. The lyrics address social anxiety and struggling to be taken seriously, and lead nicely into the final two tracks, Addict, which deals with substance codependency, and 21, which takes on the pains of growing up. Addict takes on its subject matter with humor and self awareness, with desperate, pleading lyrics superimposed over the light, almost beach-rock energy of the track which breaks for a heartfelt bridge only to quickly switch back to upbeat melodies.
21 is the bittersweet ending to the album. “I’ve been feeling like I just can’t do it by myself,” the lyrics admit, as well as, “maybe I need to drink more water this year.” Don’t we all? Sadly, I don’t think water is enough to heal growing pains. “This year I’ll be one more older, next year I’ll be one more closer,” is the final line, leaving listeners wondering, closer to what? Hopefully another VIAL album.
21 is the bittersweet ending to the album. “I’ve been feeling like I just can’t do it by myself,” the lyrics admit, as well as, “maybe I need to drink more water this year.” Don’t we all? Sadly, I don’t think water is enough to heal growing pains. “This year I’ll be one more older, next year I’ll be one more closer,” is the final line, leaving listeners wondering, closer to what? Hopefully another VIAL album.
This project lives up to its name. It’s a brazenly queer, feminist love letter to beating up misogynists and making punk music. It might make you laugh or cry. It will almost definitely make you want to break something. The drumming and production stand out as particularly enjoyable, especially compared to earlier releases, and the writing is clever and catchy. It’s a more fully developed take on what has always made VIAL great: their tenacity, humor, and undisputed badassery. VIAL is a bunch of loudmouths, and they’re proud of it.
