by Conor Lochrie (@conornoconnor)
Nova Scotia rockers Kestrels want to remind you of another era and their latest album Dream Or Don’t Dream is their love letter to ‘90s rock, mixing the hushed aesthetics of shoegaze with the fuzz and energy of power-pop. Released via Darla Records, it comes four years after their previous effort, 2016’s self-titled album. After receiving critical praise for this, Chad Peck’s long-time band dissolved, leading to a creative hiatus. It mattered little in the end though, for the backing credits for Dream Or Don’t Dream are astounding: the album was mixed by John Agnello (Sonic Youth, Kurt Vile) and mastered by Greg Calbi (David Bowie, Lou Reed); the legendary J Mascis also offered his assistance, performing a guitar solo as only he can on “Grey And Blue”.
Mascis’ influence in particular colors the record’s nostalgic sound, harkening as it does back to the ‘90s heyday of alternative rock, when his band Dinosaur Jr. were so acclaimed. The album is a dream listen for any guitarist and will instantly reward anyone with an inclination towards the instrument. Peck and his collaborators create an intense wall of guitar sound that rarely lets up. The album was recorded with vintage gear and utilized over 100 pedals; it’s little wonder that the album sounds so densely packed and textured. Peck is careful to include large and catchy choruses to balance the esoteric guitar work. It’s also welcome that he offers softer vocals to contrast with the heaviness of the instrumentation - in this way he often recalls the lilting delivery of Built To Spill’s Doug Martsch.
“Vanishing Point” opens the album with frenzied energy, setting the tone, before the aforementioned “Grey And Blue” then gives that Mascis guitar solo, so full and fascinating (Michael Catano’s frenetic drumming also deserves to be highlighted on this track). The band is capable of playing slightly downtempo as well. “It’s A Secret” leans into yearning indie-rock while “A Way Out” is layered with emotive atmospherics. “Keep It Close” boasts the most melancholic rhythm on the record, filled with introspective guitar work.
The buoyant “Dalloway” (presumably a reference to the Virginia Woolf character, given Peck is a high school english teacher when he’s not playing in Kestrels) feels indebted to My Bloody Valentine in its fuzz and distortion. When the closing song “Say Less” finally fades out - after several changes of pace - Dream Or Don’t Dream has been a long but rewarding listen. In its meshing of big-name rock backing talent and its commitment to reviving the sound of the ‘90s in the modern landscape, Kestrels will find an interested audience.