Escape From Evil
Jana Hunter re-imagines herself here as Siouxsie Sioux leading an ’80s alternative rock band, preferably British. The Baltimore-based ensemble’s third album, *Escape from Evil*, turns up the synths and the glam power for songs like “Ondine,” “To Die in L.A.,” “Your Heart Still Beating,” and “Electric Current,” which sound like natural bedfellows with tracks by Depeche Mode, New Order, OMD, Bryan Ferry, and even David Bowie. Some credit is likely due to coproducer and mixer Chris Coady (Beach House), with further input from Ariel Rechtshaid (Sky Ferreira, Vampire Weekend) for smoothing over the band’s previous rough edges and helping them achieve a heavenly patina.
On Escape From Evil, Lower Dens’ Jana Hunter emerges: cerebral and hot-blooded, rash and incorruptible, and, crucially, possessing of a loud, clear voice; all key components when tackling life's key crises.
Lower Dens' Escape From Evil siphons its aesthetic from the storied pop of the '80s, but it's not content to stop at homage. The Baltimore band uses the past, its clichés and its innocence, as a lens through which to imagine a queer and open future.
The Baltimore foursome are burning away the haze and confronting their demons head-on. In the process, they've created their best album to date.
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For listeners craving substance served side-by-side with flash, Lower Dens’ world is one worth exploring.
"Suckers Shangri-La," the opening cut on the Jana Hunter-led, Baltimore-based experimental pop unit's third studio outing, wastes little time in getting down to the nuts and bolts of what Escape from Evil is aiming for.
After Lower Dens' brilliant, ruminative 2012 breakout Nootropics, Lower Dens mastermind Jana Hunter was tired; life on the road playing the...
On their new album Escape from Evil, it appears as if the Baltimore-based quartet Lower Dens have seen the light at the end of the tunnel.
Review of Lower Dens' forthcoming album 'Escape Evil.' The band's Full-length will be released on March 30th via Ribbon Music.
Haunting subject matter given a slick 80s pop treatment works thrillingly on the Baltimore four-piece’s third album