A debut album has one job: convince listeners that a band is worth paying attention to. Great ones become more than just introductions, instead establishing themselves as almost mythological benchmarks that every future release is measured against (such as Arctic Monkeys’ Whatever People Say I Am, That’s What I’m Not or even The Killers’ Hot Fuss). In the least threatening way possible, BACKHOUSE’s debut Songs in the Key of Orange has the potential for that same iconic legacy. 

Songs in the Key of Orange starts with “Sycamore Trees,” a song that admittedly had me worried during its first 17 seconds but then proceeded to pleasantly surprise me with its quick-arriving beat drop. With a healthy mix of modern rock and alt pop in the form of synths, “Sycamore Trees” balances genres in a way reminiscent of Wallows, if Wallows added a touch of airy nostalgia to its sound. Lead singer Taylor Hill also boasts a unique vocal timbre with the same tonality as other indie artists—think a healthy combo of Hippo Campus and The Backseat Lovers—which immediately makes this project an easy sell for fans of either.

From there, Songs in the Key of Orange continues to assert itself as a newfound indie rock staple. “Always the Same Dream” leans more into BACKHOUSE’s pop instincts but is still a natural extension of the opening track and carries an incredibly infectious groove. A few listens solidified it as one of my most-listened to on the record. The semi-titular track, “Key of Orange,” confuses me about what the key of orange even is, but the sonic, kaleidoscopic imagery distracts me enough to question it further. I knew from the first few chords that this track would be my favorite off the album, and perhaps its passing resemblance to Asbury Park’s Surfing for Daisy and their song “Goddess” is why. There’s very clearly something in the water on the Jersey Shore; bands from the area always seem to have a knack for writing impossibly earwormy melodies.

The album amps all the way up until the sudden dial-down on track six, “Sweet Baby.” The lyrics, too, are longing and intimate (“Sweet baby / This is just the way / We have to go / Am I just crazy? / Thinking about you lately / All alone”) and the addition of strings creates a nuanced atmosphere for the album as a whole. “Interlude” is exactly what it says, and lord knows, I love an interlude on an album. I honestly wish more artists took interludes for what they are: a chance to give the listener a breather, to prepare them for Act II of the record. This one in particular serves as the perfect palate cleanser after the slower vibes of “Sweet Baby.”

“Like a Movie” takes listeners back into the upbeat world of BACKHOUSE, though this track’s lyrics land a bit on the clichéd side with the chorus, “Last night felt just like a movie / On the silver screen.” Since the musicality of the track carries on this one, I’m willing to overlook the flimsy lyrics. “Fruit Breakfast” swoops in as a sweet yet sensual wind down to Songs in the Key of Orange, and musically, it reflects that push and pull of the lyrics, drawing the listener in by the ears through chromatic motifs.

In the best way possible, it’s genuinely difficult to believe Songs in the Key of Orange is BACKHOUSE’s first full-length release. The confidence of its songwriting, the cohesion of its sound, and the ease with which it balances nostalgia with modern indie rock make it feel like the work of a band that’s already had a few LPs under its metaphorical belt. While there are moments that could benefit from sharper lyricism, they’re grossly outweighed by lush production and a clear understanding of the atmosphere the band wants to create. Each song stands comfortably on its own, but together they paint a coming-of-age portrait of carefree living interrupted by the inevitable moments of longing that accompany life.

If this is only the beginning, BACKHOUSE has already proven it’s capable of making the kind of records people will look back on fondly. Come the album’s official release on July 21, I’ll be adding Songs in the Key of Orange to every playlist I can justify.

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