Boston folk rock group Low Key is anything but. Bringing a refreshing, unrestrained quality to a more traditional folk sound, they pull from an eclectic musical background on Ship Without An Anchor.
They point to Radiohead and Minus The Bear as influences, which is evident in the modern twists they add to a more vintage sound. Citing Feist as an influence, however, catches one off guard, as the Canadian indie pop artist is far more subdued than Low Key sounds upon first listen. Syncopated, staccato guitar and drums that follow neatly are nearly mismatched with Kelsey Crawford’s full, rich voice. And then “Natalie” comes on.
The bluesy guitar upholds Crawford’s jazzy vibrato and slick grace notes, transforming “Natalie” into a song that’s purely Low Key — partly blues, partly indie, and entirely unheard before. The impassioned chorus accompanied by leaden-footed trombone sounds more like something to come out of the mouth of Rachel Price than Leslie Feist.
The title track of the album, “Ship Without An Anchor,” is kaleidoscopic, bursting into a multi-part a capella harmony before culminating in an emotional duet set in a minor key that wishes it was major. The folk half of their sound makes itself known through the narrative lyrics, while the rock half overtakes the instrumentation with furiously rattling cymbals and an anxious rhythm.
And the rest of the album? Well, it all falls somewhere in between those two songs — and it never really settles comfortably into either style. Borrowing techniques from the jazzy, bluesy “Natalie” and combining those with a harsher, ardent sound, Low Key creates an eccentric new genre for themselves that doesn’t always fall comfortably on your ears.
Low Key are off to a solid start with their powerful debut, Ship Without An Anchor, with plenty of room to grow. Hopefully their future releases won’t miss the ship.