An unknown band, amid a pandemic, puts out an album, which is already on its third pressing of 500 — good for them. This is one of those “Bandcamp phenomenons” that happens about twice a year.
Sweeping Promises is the latest project from Lira Mondal and Caufield Schnug, who have been making music together in Boston for years under various monikers. The band’s debut album, Hunger For a Way Out was recorded using a single microphone (Shure KSM32) in the middle of a vacant concrete subterranean lab, just before isolation. Capturing a sound that was reminiscent of the space they were in, was important to the band, thus they produced a naturally reverberant sound that is heavy but airy, which is reflective of the concrete empty space they were in. A nod to the past and an homage to our shared vacant future.
Despite the minimal production, Sweeping Promises knows exactly what they are doing. With a quick run time just shy of 28 minutes, the album is incredibly tight and seamlessly transitions from track to track while remaining compelling.. To some, this will sound like another post-punk record but for those that are into it, they will find some solid tunes in here, especially if you dig an ‘80’s pop vibe. I think Sweeping Promises’ funky yet thoughtful approach is bound to pique interest.
Title track “Hunger For a Way Out,” hooks the listener immediately. Its first cymbal crash is the equivalent of the seatbelt sign being illuminated on an airplane; it’s a sign pointing towards the journey ahead. This track slaps you in the face with groovy bass, distorted guitar and the DIY angel vocals of Mondal ― there is no question as to why this is the opening track.
“Pick your jaw up off the ground / Take your seat,” Mondal chants as we continue our journey into “Cross Me Out,” her groovy bass lines along with her melodic repetitive lyrical demands create an effortless yet thoughtful transition. It’s the foundations of Mondal’s bass lines that leaves room for the band’s songs to build up, break down and create subtle, danceable hooks.
In tracks “Out Again” and “Safe Now,” Mondal’s vocal begins to take a turn into a sweet delivery with a shrill sound. This is a sound best described as what Debbie Harry would have sounded like if she was as punk as she claimed to be. Mondal’s ability to transform her vocal flawlessly, flexing over the energy Schnug and her have created from track to track, allowing each instrument to shine, is what makes this a stand out debut.
Sweeping Promises’ delivered a jangly, lo-fi but sneeringly tight debut that I can not wait to see performed live. But until then, I will be pushing this album on all of my friends, staying home and dancing to this suzy in my living room.