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Tiny Engines

Annabel "Worldviews" LP

Annabel "Worldviews" LP

Regular price £20.00 GBP
Regular price Sale price £20.00 GBP
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🚛 Estimated to ship June 2024


On “We Are Where We Are,” a glimmering mid-tempo highlight from Annabel’s new album, Ben Hendricks sings of “a modern way to fill the empty space.” Worldviews, the band’s fourth LP and first in nine years finds the band reconciling with the ways the world has changed in the decade since they’ve been away. His protagonists are trying to determine the boundaries between what’s real and imagined, navigating their worldviews and the dominant ones around them, fighting for an escape or at least a distraction, wondering where the time goes, “going through the motions, running in a circle.” That could’ve been Annabel’s fate, too. But the core of the Ohio band is brothers Ben and Andy Hendricks, and as long as they’ve got each other, we’ve still got Annabel. In a world that feels so uncertain and so disconnected, where else is there to turn but back to Annabel? Think of Worldviews less like a comeback and more as the product of years spent gestating, more The Meadowlands than the promised Wrens LP4.

Hendricks spends the chorus of “All Time” promising to “make up for all the lost time,” and Annabel makes good on that promise for the next half hour. Worldviews is the most locked in the band has ever sounded, perfecting and building on their indie-emo sound. The title track and “Dog” are classic Annabel, sprightly and jangly midwestern rock songs, while “Defense Mechanism” is a rougher-edged update; when they go in the opposite direction, it results in some of their best work: “Every Home Needs a Ghost” is spartan and spectral, worthy of its title, and the beautiful “Small Victories” dabbles in downtempo electronics. They don’t sound like a band returning after nearly a decade; they sound at the same time hungry and lively like scrappy upstarts and wizened and seasoned like they never left. At no point does it sound like they’re trying to justify a return—it sounds like it was the natural next step.

On Youth in Youth’s closer, Ben sang, “I want to be with you forever,” and Worldviews’ closer—the sputtering piano ballad “The Afterworld”––finds him, thirteen years later, singing that “I’d be in love with you in any life I’m reborn into.” Some things, it seems, haven’t changed. In the line right before that one, he murmurs, “I don’t believe in anything except for love.” If anything keeps Annabel grounded throughout Worldviews, it’s that determination, that hope. And it’s enough to convince you, too.
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