It is difficult to turn an eye away from the now persistent societal malaise earned from back to back
unprecedented events and growing personal distrust. This is particularly noticeable in the more visible
younger generation through the social media lens. Naturally, the growing base level of anxiousness has
inspired thorough reaction and exploration from today’s creatives. While often handled with a delicate
balance of humor and grave concern, the thread between the two seems to be progressively thinning.
However, the expanded access to resources and connection provides a lane for each individual to define
their own path to self-care. On When Birds Fly West, the second album from Denver CO’s Lu Lagoon, the
challenge of coping is met with a sprawling embrace of comfort. Through a more ambitious approach to
their arrangements, they cover nostalgia, friendly/familial love and, least of all, speaking out in response
to the looming external turmoil.
Lauren Black, singer/songwriter and primary creative behind Lu Lagoon, grew up in Maryland
surrounded by music. Their knack for songwriting and melody grew over the years eventually leading to
the 2020 Lu Lagoon debut Seven Corners. On this, Black established herself as a proficient folk rock
songwriter. The upbeat tracks such as the jaunty “Phris Cratt” to the ultra-melodic slow burners like
“Seven Corners” graciously show off her warm vocals and lyrical prowess. On When Birds Fly West, Black
and Lu Lagoon have their eyes towards the burning skies. The instrumentals are varied and more fleshed
out and the songs look further inward and farther outward.
Opener and first single “Blood Moon” invokes a Shakespeare twist with its opening line “They used to
say all the world’s a stage/but now it’s burned down”. The band leans in to the dramatics in the chorus
to the paint the picture, brown water and black skies. The accomplished musical arrangement does an
excellent job supplementing the dystopia described in the lyrics. As the chorus looms, arpeggiated keys
dance among the strings as they crescendo. The contrast between the almost deadpan singing in the
verses and Black’s powerful vibrato in the chorus accentuates the feeling of individual futility against a
global scourge.
Second track “Sky Valley” meets any lingering ominous feelings with a serene scenescape. The initial
plucked guitar and piano achieve an almost Fleet Foxes esque level of warm camaraderie. The
destination ranch as described in the song, whether based in Black’s upbringing or not, provide literal
escape as well as a metaphor for the ease that Black feels harkening back to their familiar upbringing.
The sounds, smells, and looks powerfully represent a more peaceful time, offsetting the previously
explored anxiety with reading, bread baking and bed making. The intoxicating verses are punctuated by
swelling harmonies that surround and pass just as fast. The back half of the track is given some life with
a steady beat from drummer Justin Given and a walking bass line from bassist Kyle Waggoner. “Strong
Hearts” channels the discontent seen in the opener into a motivational ode to speaking out together.
The band loosely jams following the distorted guitars from Black and guitarist Madison Madeira. The
track offers some welcomed tempo and provides a sing along to undoubtedly center itself in the live set.
Mid record, the listener is serenaded with bagpipes during instrumental interlude “Morning Comes”. It
is a moment of reflection made bittersweet in the record’s context to find peace. The bagpipe
traditionally used in celebration and in mourning provides an apt choice for thoughtfulness regarding
one’s place in the bigger picture. Whether real memory or daydream, the ethereal lust is continued into
the opening harp introduction to “Lullaby”. Black’s vocals sift dreamily over the cloud of strings, singing
the excitement of new love and its longing. Closer “Bird’s Fly West” bops to a bouncy bass riff from
Waggoner. Again, the scene is set but this time around the colors are more forgiving. The trees green,
the water glistening and the sun is set high. The calm love tints the barren landscape in the introduction
to a rosier hue. Again, the harmonic prowess continues to deepen the emotional depth of the music,
bringing full circle the journey from concern to content.
By no means, is escapism offered as a solution in this record to very real world issues. However, Lauren
Black and Lu Lagoon suggest some value in appreciation of the comforts around. Among the dreamy and
wistful, sits the bonus track “Muffin Man” – perhaps the most candid. It is a spontaneous recording of
Black and their father singing the old tune on a night at home. A clear momento of Black’s musical
upbring and their comfort zone. When Birds Fly West is a journey of a record that expands on Lu
Lagoon’s sturdy folk rock foundation. While the modern times may ask much from each of us, Lauren
Black and Lu Lagoon don’t hesitate to look for the beauty in the doom and gloom.
