Marlin's Dreaming: A Covid-induced hiatus gave way to new sounds. Photo / supplied
There’s no shortage of surf-adjacent bands in Aotearoa, but Marlin’s Dreaming have consistently shown themselves to be a cut above the rest. Whether that’s the spoken-word approach of 2018 release Mellow, or swapping cover versions with the late Martin Phillipps, they’ve established themselves as a serious act with a distinctsound. However, their new album, Hirl, shows they’re not staying put musically.
They have thrived under the alternative rock umbrella, but on Hirl, they experiment with a folkier side – much like the recent acoustic meanderings of US indie veterans Yo La Tengo, whom they’ve cited as a big influence on the album. Samoa is a standout. It features a Pasifika-inflected guitar hook that transitions into a lush Wilco-esque solo. You can also hear the Jeff Tweedy influence on Country Plaines, a soothing track about the Waitematā Harbour with a generous amount of acoustic guitar, harmonica, and keys – instruments not typically used by the band, but welcome additions to the mix. Wallpaper is another example of the more abstract leanings. Its lyrics consist of three sentences – each line melding into the next, like a puzzle being pieced together. In the verses, the backing vocals are autotuned, and a single droning bent guitar note plays throughout, creating a light layer of dissonance.
A Covid-induced hiatus put the band’s recordings on hold, but it gave way to new sounds. Most notably, School Fair, the Dunedin art-rock outfit, three-quarters of Marlin’s Dreaming. Semisi Ma’ia’i shared lead vocals with Findlay Buchanan, traversing a darker aesthetic with stream-of-consciousness lyricism. Taking a break to pursue other musical projects has resulted in a refined LP, adding something unique to the esteemed Dunedin guitar pop canon.