by Kris Handel
Fingers Crossed is the first album by the new project of Christina Riley, formerly of Burnt Palms. The record is packed with jaunty and bouncing pop melodies full of heartache and reminiscences done with a deft hand. Riley truly has a way with harmonies that resonate with the listener, triggering memories of past artists while adding enough twists, turns, and creative songwriting that helps it never sound hackneyed. Artsick craft two to three minute nuggets that stick in your ears and call back to early K Records tenderness with a modernity that keeps everything churning. There is a spiky rawness to these eleven tracks that complements the bright songwriting and works well with the frayed nerves that roll through to form the basis of this record.
"Restless" kicks the record off in rollicking fashion with crashing early Who-meets Exploding Hearts guitar, a rolling bass line, and Riley's expressions of antsiness. There's a lot happening in this tight little bundle of a song that swerves and jumps across all sorts of influences on its way in the most charming of fashions. "Look Again" has Riley employing a weary and resigned coolness in her vocal approach as her voice collides with cymbal explosions and choppy guitar, amplifying the jitteriness of the songwriting. Artsick prove themselves pretty masterful at expressing feelings of regret and yearning which is exemplified toward the song’s conclusion where Riley somewhat declaratively opines "Can./You./Give it/Another try/Promise./I'll be./Better./This time..."
In the middle of the record lies a trifecta of songs with Artsick at their most inward looking. The tracks are full of wholly relatable emotions that encapsulate periods of turmoil and unrest brought on universally in people by recent current events in the world. "Ghost of Myself" is a ramshackle and fast paced snotty blast that recalls something that would fit perfectly on any number of sharper edged K Records releases mixed with the shambolic mid-to late 80's DIY punky power-pop. There's an enchanting jangle here despite its tale of dissociation and anxiety as Riley chirps out her vocals over hurried guitar and a rhythm section that races breathlessly along. "Living A Lie" is another burst of energy full of sharply cutting distorted guitar lines, while "Dealing with Tantrums" is super bouncy powered by a hyper-active bass provided by Donna McKean and steady drum fills from Mario Hernandez.
With Fingers Crossed, Artsick provide us with a record that is a tight and sharp expression of anxiety that carries with it an infectious energy that will have you bouncing alongside without hesitation. The infectiousness of the band is hard to not marvel at as they are able to combine uncomfortable feelings with a bright yet spiky and spunky attitude that blends flawlessly. Riley has managed to create an album that blows off a lot of steam, one with so many moments of wild melodies that will be hard to shake from your head for hours after listening. This record has a charm that is hard to fully elucidate without experiencing all of its jittery pop magic for yourself, which honestly should be mandatory for everyone.