On Sept. 6, 2024, indie band The Crane Wives released their fifth studio album: “Beyond Beyond Beyond.” Preceded by the release of singles “Arcturus Beaming” in June of the same year, “Bitter Medicine” in July and “Scars” in August, there are 11 songs overall, totalling 48 minutes. With a mix between folk and rock styles, the quartet wields emotion and potent lyrics in music that weaves between story and heart.
The album opens with “Scars,” immediately showing the listener all their best. Emilee Petersmark and Kate Pillsbury’s vocals are rich with beautiful emotion, grabbing onto listeners’ hearts. Strong percussion and instrumental only amplifies this, and that’s without mentioning the heartbreaking lyrics.
Petersmark and Pillsbury bemoan “A fatal flaw at the start / Tell me it’s inevitable that I end up with scars,” beginning a story told through the themes of the songs: that of the complexities and volatile emotions of a toxic relationship and leaving it.
The next few songs are a back and forth of highs and lows, illustrative of the emotional turmoil in the unhealthy relationship that so many of the songs narrate. “Higher Ground” and “Say It” are both slower, less intense songs that are overall more tragic than anything else. On the other hand, “Predator” and “Mad Dog” are closer to aggressive and more filled with the anger and violent pain of the relationship.
“Mad Dog” deserves its own acknowledgment as well. It has a pushing, desperate sound, with vocals almost struggling to keep up with the pace of the song. It’s not a casual listening song; the feeling is intense enough to feel it in the chest. The song also does a great job setting up the thematic climax of the album, bringing it to a breaking point that must be resolved in some way or another.
The initially released single, “Arcturus Beaming,” comes seemingly late in the album, being just after the halfway point. Named after the star Arcturus, the fourth brightest in the sky, it represents a turning point in the tone of the songs.
Where previously the narration tells of someone struggling with relationships and falling out of love, this song shifts comfortably to a more hopeful sound. With intense vocals, Petersmark and Pillsbury make the statement that “Nothing will change unless I change,” a simple yet terribly important realization for so many situations, and a call to action at the same time.
The next tracks on the album follow much in kind, with warmer sounds and more optimistic lyrics. “Black Hole Fantasy,” the longest song at just over 6 minutes, tells a story on its own. The narrator gains their confidence to confess love to a friend, leaving behind the “black hole in the living-room.” This song is oozing with joy and love, almost guaranteed to get a smile.
“Red Clay” is unique in the album thanks to a much more notable role for Dan Rickabus. Normally on percussion and in the background of the vocal harmonies, he starts off the song as the main vocalist. This is definitely something that could be utilized more; along with the gentleness of the song overall, his voice makes it come off almost reminiscent of a lullaby. It’s soft and kind, lacking any hard edges.
To finish, The Crane Wives bring out a piece that is one of the best of their positive, high energy songs. “River Rushing” channels a rock ‘n’ roll sound, with heavier instrumentals and more intensity overall. It flows with the elation of liberty, proud that “it’s time to free the river rushing.”
Overall, the album is as potent as many of their earlier works, but blended with experience and its own dynamic story. Though the style may not occur to many as their favorite, The Crane Wives do create a comfortable, gorgeous sound that can be played in the background or taken in full with the lyrics. If Hozier or Noah Kahan are a personal favorite, “Beyond Beyond Beyond” would be an excellent listen.
