Gollay - Override
Just moments ago, Gollay dropped a dazzling new album – Override, a confection of pure sonic elegance rife with complex moods and exquisitely structured soundscapes.
Gollay
Based in Ft. Worth, Texas, Gollay consists of Rachel Gollay (vocals, guitar), Russell Jack (keyboards), Joshua Ryan Jones (drums), Billy Naylor (bass), and Taylor Tatsch (guitar). Zachary Balch plays electric guitar on tracks two, three, and seven.
Override encompasses 10-tracks. Entry points include “Burn It,” which fuses radiant electro-pop flavors with hints of industrial tangs. Gollay’s voice is remarkably unique, reminiscent of Joni Mitchell combined with Alanis Morissette, with mythological filaments running through it.
“Rainbow Decider” opens on gleaming galloping colors flowing into an electro-pop tune, smooth and creamy. After a brief bridge, the harmonics shift to cool, shimmering dream-pop hues traveling on supple gliding colors.
Gollay’s voice is remarkably unique, reminiscent of Joni Mitchell combined with Alanis Morissette, with mythological filaments running through it.
“Can You Ever Forgive Me” rides wall-of-sound coruscations, glowing and pulsing with iridescent energy, as if oceanic in scope. Gollay’s tones, translucent, yet simultaneously marvelously opaque, infuse the tune with nuances of tantalizing umbral timbres. “Alone Together” is simply sublime, opening on soft synths and Gollay’s tender voice, and then seguing into lush washes of color and resonance. The flow of the tune ripples, swells, drifts, and coasts like liquid sunlight. A tranquil breakdown injects tenuous pigments, followed by massive blushes of buttery, luminous colors.
“White Stag” delivers a change of pace, featuring glimmering punk energy atop a potent pulsating groove, with fabulous “whoo-ooh-ooh” harmonies filling the backdrop. “Fear Of” takes a scrumptiously tasty folk melody, mousses it with synth-pop surfaces, gentle heaving colors and an intimate, subtle harmonic flood of sound.
“Lion” is my favorite track because of its lingering spider’s web of tones, gauzy and ethereal, initially. As the melody mobilizes magnitude, the layers of sound coalesce into lustrous surges of rising reverberations.
Override reveals an inescapable truth: Gollay is diaphane, I am flesh; Gollay lives in a world of wondrous music, I trod the earth in onerous boots. Fortunately, I have ears and may listen to the beguiling music of Override.
