Evinair is one of those rare bands that manages to balance delicate atmosphere with just enough moxie to keep energy high. Think of bands like Copeland, Circa Survive, or From Indian Lakes. This isn’t necessarily post-hardcore, though it’s adjacent. But mostly it’s the kind of thing that seemed to have died off unnecessarily. Certainly, while Evinair may draw comparisons from more established acts who have deviated wildly from where they began, it’d be unfair to say this sound is dated by any stretch. This isn’t nostalgia talking, either. Always Been is unmistakably modern, blending hints of indie pop with a melodic rock base.
Of course, the EP’s first track might trick first listeners. “Kissing Vines” sees Meagan Vigil’s guest vocals over gentle piano. You’d quickly think this was some sort of cottagecore folk project if this were all you knew. It’s a strong track even in simplicity, but it’s not representative of what this five piece does best.
The other four tracks manage to easily fill the knowledge gap. Airy guitar parts, falsetto vocals, and punchy rhythms keep these tracks feeling moody and mysterious. Perhaps a Mew comparison is warranted here as well, as there aren’t many bands that meld prog with pop mystique.
“Always Been” is certainly worthy of its role as title track, with an instantly familiar guitar tone, crunchy bass, and soaring chorus. It’s not hard to hear the influence of would-be pop emo bands from the early 2000s, but again that’s not a complaint at all.
“Over the Center Console” continues this sonic trajectory, with enchanting guitar cascades, a couple heavier bits, and even some keys mixed in for good measure. Admittedly, it feels a little tiring when it comes to some of the pseudo-breakdown parts, but largely, this is a standout track when it comes to melodic guitar work.
The most prog-influenced track is “Turned Around,” with a chorus that definitely packs more punch than its predecessors. I’m reminded quite a bit of Kiven’s self-titled album with the staccato delayed guitar. If you can’t tell by now, this is an album where the guitarwork is truly central.
The album closes on the post-rock-influenced “A Little More.” Keys play a bigger role here, and use of bells helps cement a strong sense of ambience. Add in tremolo picking and you’ve got the formula for a big ending track. Oddly, the song is only two and a half minutes long. The band seems to break the fourth wall on this a bit with the end being a voice clip saying “Wait, is that where I’m supposed to start? Right there?” Most bands would drag a song like this out for five or six minutes but here, things are over quickly.
Indeed, the whole EP is only 14 minutes long. The band might dabble with elements of prog, post hardcore, and post rock, but they deliver it all in pop-sized bites. This is a digestible EP that manages to fill the niche for intelligent and technical melodic rock that is neither too inane nor too commercial. And interestingly it’s the band’s biggest risks that seem to stand out—both the opening and closing tracks are outliers in their own right, but they feel like some of the most well-rounded arrangements seen here. If I had to sum up the EP in one phrase, it’d be “welcome back.”
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