by Giliann Karon (@lethalrejection)
The Ophelias are no longer a scrappy Cincinnati quartet, and they have the accolades to prove it. On their fourth album, Spring Grove – produced by Julien Baker – lead singer Spencer Peppet sharpens her visceral storytelling skills to confront old ghosts and untangle conversations she only accessed in her dreams. Emotive and intimate, each of the thirteen tracks explores emotions far beyond heartbreak, instead touching on personal transformation and queer joy.
Aside from some harmonies by Baker and collaboration with engineer/mixer Calvin Lauber, all the genius comes from just the four members. Bassist Jo Shaffer (who’s engaged to Peppet) lends their experience making horror films to adorn the songs with cinematic touches, like the swirling bridge of “Cicadas” that mutates into a voice memo of buzzing cicadas, or violinist Andrea Guttman Fuentes’ melancholy outro on “Vulture Tree.”
Since their inception in 2015, The Ophelias have taken on many forms, first uniting after each member was the “token girl” in their respective male-fronted groups. Originally an “all-girl band,” the group has shed that label to make room for their queer and trans identities. In fact, Spring Grove is drummer Mic Adams’ first album since coming out as transgender. Though Adams no longer identifies as a woman, he feels most represented by female musicians. “It’s the only time I’m comfortable being perceived as feminine,” he confesses. His confident, dynamic sound results from a safe space to explore new identities, something he credits to Baker.
To explore the complexities of womanhood, the album dissects nuances of power, both on an individual and societal level. Peppet confronts fading friendships, power imbalances, and her own OCD diagnosis, which she says “created a hyper-awareness of the body.” She holds our behaviors and neuroses to the light, allowing listeners to extract new meanings and perspectives. Take the vengeful “Salome,” where the much-younger protagonist demands an older lover’s head “on a platter.” This track struts into the melodramatic “Parade,” which examines a burdensome and exhausting friendship.
“Open Sky” views a friendship in the rearview mirror, which crumbled after a split with an unnamed 40 y/o man. An earnest “Good for you/I’m really happy for you” precedes Peppet’s admission of guilt. “I think you're better off/I know I was part of this,” she meekly acknowledges, though expresses no desire to rehash their conflict. “Cumulonimbus” and “Shapes” similarly address encountering someone from your past and wishing them well without any bad blood. After 41 minutes of interrogation, Spring Grove cracks the code on maturity – neither forgiving nor forgetting, just letting it go.