Now, Now releases new single “AZ,” announce album Saved

On March 1st, Now, Now released their third single, “AZ” in support of their newly announced sophomore LP, Saved (2018). Coming off the coattails of two 2017 singles, “SGL” and “Yours,” and a small United States tour, the duo comprised of singer/frontwoman Cacie Dalager and drummer Brad Hale appear to be back in full force.

Now, Now’s resurgence comes after a five year hiatus following the release of their first album, Threads (2012). After pouring every ounce of their creative and emotional potential into the album, the group left their devoted fans with silence. Longtime guitarist Jess Abbott left the band to pursue her previous project, Tancred, while Dalager struggled with depression and self-doubt.

https://www.youtube.com/watch?v=Zp6oFkBHjx4?rel=0

Coming out of the break, the band returned with a similar but reshaped sound. The familiar strummed acoustic guitar and high presence percussion continue to dominate the new tracks, and Dalager’s vocals still hold the listener in a warm but melancholy embrace. However, where Threads used gloomy and dark synth pads to envelop the listener in a somber drone, “SGL” and “Yours” pop with a vibrancy that is new to the group. The roots of their blend of emo and indie rock remain, but now come with an infusion of synth pop that inject new life into a possibly tired out sound.

“AZ” comes from the same new qualities. The song begins with a synthetic drum beat and an uplifting reversed synth pad before Dalager’s voice kicks in, accompanied by acoustic guitar and Hale’s live drums. Dalager’s vocals carry a more uplifting and confident tone than in Threads classics such as “School Friends” or “Magnet.” As she repeats the refrain “Back to the summer we all drove out to Arizona / Back to the heart of it all,” synths and basses slowly weave in and out of the listener’s ear. The song reaches a soft spot where it cuts down to just vocals and guitar, before a huge synth bass plays a three note progression and the entire instrumentation kicks in. During the final chorus, Dalager’s vocals become warped and repitched, displaying the band’s evolving production skills.