ALBUM REVIEW: Laveda Hold Nothing Back on Love, Darla
Photo by Mars Alba
“Ten songs that latch on and never let go, proving once again that Laveda are as interesting as they are innovative.”
Laveda may have moved from Albany to NYC in 2023, but they still feel very much like a local band. When bands leave the area, it’s always bittersweet for the scene, but there’s also an immense sense of pride in watching them succeed. And boy have we watched Laveda succeed.
Love, Darla—releasing September 12th on Bar/None Records—is the band’s third record and yet another testament to why they are one of the best bands the general public may never have heard of.
The album begins with a sprawling wall of feedback that lasts for over a minute and yet somehow doesn’t overstay its welcome. Once it erupts into a frenetic smattering of post-punk, it’s impossible not to bob your head in recognition that these guys know exactly what the fuck they’re doing. And that’s only halfway through the first song. “Care” sets the tone for what follows perfectly, intricately weaving in and out of styles and dynamics before its abrupt end.
In nearly every song that follows, vocalist Ali Genevich moves from a smoky tenor to a shrieking wail with ease, keeping listeners on their toes. Mid-album highlight “Strawberry” is a great example of this. The song begins with an infectious, fuzzy bass and drum groove from Dan Carr and Joe Taurone (respectively) that’s sure to secure it a permanent place in live sets going forward. The repeated climax of “I hate myself / I love myself”, serving as an anthemic plea of inner turmoil, will undoubtedly be even more cathartic from the crowd as it is through headphones.
As a whole, Love, Darla seems to have one foot in 2025 and one a few decades prior. It’s an admirable feat to be able to wear one’s influences proudly while also making them feel oh so modern. That feat is achieved in large part due to the methodical, interweaving guitar layers from Genevich and co-founder Jacob Brooks. Every part is placed perfectly within its respective puzzle, including the ebbs and flows of the feedback that begins the entire effort. I’d also be remiss not to mention the outstanding drumming from Taurone, a name you might recognize from five or twenty other projects in the Capital Region.
Laveda’s influences remain eclectic and interesting, blending ‘80s-era punk with modern shoegaze, sometimes within the same song. “Cellphone” has major Pixies vibes going for it, “Bonehead” has Interpol-esque qualities, and “Dig Me Out” sounds a bit like their contemporaries in the band Momma. It all amounts to noisy and energetic authenticity, with a slight air of “fuck it” attitude. Nothing held back. Just ten songs that latch on and never let go, proving once again that Laveda are as interesting as they are innovative. And that’s what makes Love, Darla so stunning. The moment it ends, you want to head back to the beginning and unpack all the little elements you may have missed. So, what are you waiting for?
Love, Darla is out tomorrow on Bar/None Records, available wherever you stream music. Pick yourself up a physical copy at https://lavedamusic.bandcamp.com/album/love-darla
