Recommended Tracks: “Dead Letters,” “Please Don’t Say It,” “What You Want Is Gone”
Artists You Might Like: The Joy Formidable, Silversun Pickups, Idlewild
What is the hardest part of adulthood? Is it all the responsibilities you have to take on? Letting go of people you love? Realizing that some of your best moments are behind you? The older you get, the more that time puts things in perspective. You figure out what’s important and who’s important, and accept that things are not the same. It is a difficult process. One band that knows this process is We Are Scientists, comprised of singer and guitarist Keith Murray and bass guitarist Chris Cain. As they approach the 20-year anniversary of their debut album, We Are Scientists have much to look back on, along with much to look forward to. With this in mind, they found themselves in a reflective state, which led to the creation of their ninth studio album, Qualifying Miles. On this project, they sort through some of the more complicated aspects of adulthood, all while paying homage to the music that shaped them.
When we enter the world of Qualifying Miles, we are greeted with “A Prelude To What.” It is easy to feel as if you are in some kind of dream sequence on this track, as its dreamy guitar riffs and stretched out vocal lines place you in another world. Meanwhile, lines like, “Staying right here / Is a sure-fire lane to regret” and “Your window’s closing / Keep it open / Tell the truth,” are motivational, suggesting that it is best to move toward your dreams—even if you don’t really know what they are yet. When you arrive, however, “The Big One” is there to prepare you for the moment. The stop-and-start instrumentals and catchy choruses play into this idea that something major is about to go down, so it is best to brace yourself. It can serve as an anthem to any high-pressure situation or potentially life-altering event, possibly like the one we experience on “The Mall In My Dreams.” Whether it’s the bass lines or the easy-going groove, there is something dramatic about the track that makes it the perfect type of song to play during a huge moment in a movie—maybe even the closing scene. You can very much picture two characters going their separate ways, a close-up on the protagonist’s face, and then the cut to the final credits, which is ushered in by the track’s guitar solo.
These previous songs touch on the concept of moving forward, and a big part of moving forward is accepting mistakes and embracing the consequences. This is all easier said than done, which we learn about on “Please Don’t Say It.” Here, Keith sings, “I’m sure there’s something you should tell me / Please / Don’t / Say / It / Knowing doesn’t mean it’s helping / Please / Don’t / Say / It,” with the pauses between the words serving as the delay to the inevitable. However, on “The Same Mistake” and “A Lesson I Never Learned,” some ownership of fault comes through. With “The Same Mistake,” lonely and complex vibes emanate from the resonant beats, shimmering guitar, and thoughtful lyrics. Going back to the movie soundtrack analogy, this would be the “epiphany moment” song in the 80s teen drama, when the protagonist is left to question their actions. On “A Lesson I Never Learned,” the acceptance comes before the fallout, before the lonely epiphany moment. Over the guitar strums, we hear, “You don’t have to be a lesson that I never learned / The idea that you’re lost on me is the saddest thing I’ve ever heard,” its forthcoming point-of-view helping to take the edge off.
When you start to accept the wrongs in your life, you can open yourself up to new opportunities to do better. With “Dead Letters,” it is clear that old habits die hard. Accompanied by indie-folk style claps and strumming, lines like, “The time has passed for show and tell / Get it together / Get over yourself,” instill a change. There’s also “What You Want Is Gone,” a power ballad-like track that encourages those who are holding onto the past to let go. The meandering guitar riff that we hear throughout keeps the energy going, even as we get gloomy lyrics like, “Hasn’t this taken long enough? / You can’t just wait around for what / You want / If what / You want / Is gone.” In the end, if you let go and move on, you might find that your situation is not as crippling as you once thought. With “I Could Do Much Worse,” Keith takes pride in all that he has gone through, sharing, “I’m jumping through hoops / It’s all very noble / What more could you ask for? / Who would ever say / You left me with nothing / When I got the last word?”
All in all, Qualifying Miles is an album for those who are in the thick of adulthood. Its intentional stripped-down sound gives the songs a sense of nostalgia, one that lends itself to the themes we hear throughout. Whether you are identifying with the vulnerability on “The Same Mistake” or reliving old desires on the closing track, “Promise Me,” there is a forlorn quality to the album that is only enhanced by the guitar-driven music. Additionally, there are oddly specific moments that We Are Scientists touch on from track to track. They don’t give too much away lyrically, leaving room for interpretation, but they emote enough for listeners to connect with what is being heard. If you are coming to terms with yourself, getting swept up by old memories and familiar friends, or trying to get a hold of your future, it is all here on Qualifying Miles. Take this album as a prelude to what…ever comes next.
You can listen to Qualifying Miles here.
Catch We Are Scientists on tour here.
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Well done. I listened straight through this album at least three times, initially put off, searching for the crunch of Dinosaurs, the pace of Handshake Agreement, or the perfection of Human Resources. I started to conclude this was a swan song, and the general mood was sadness, loss, and inevitability. Eventually, I found the connections Kieth and Chris were making. But I’ll admit, because this great band is a guilty pleasure, I’d rank Promise Me and Dead Letters as my favs.