Winner by Overcoats | Album Review
The Overcoats swing in a mellow direction on their 2023 release.
My first introduction to indie-pop duo Overcoats was opening for Tennis for their Yours Conditionally tour. Consisting of band members JJ Mitchell and Hana Elion, the duo has been a pleasure to see evolve sonically since their start. I was immediately taken by their lively stage presence. Their debut record, Young, was steeped in an array of electronic elements. Their second album, The Fighter, was one of many releases that had live promotion off the table due to quarantine restrictions. During this time, the duo released themselves from the ties of their old record label and became fully independent. After scrapping their original third album, they honed in on a softer sound that explored the nuances of success, something JJ discusses in more depth in her Atwood Magazine interview:
“I think the title of it kind of speaks to what the journey was like. There was a lot of adversity thrown in our faces in terms of the music industry, also what everybody experienced on a personal level with the pandemic, and I feel like you can either give up, or you can decide every day to keep trying and declare yourself a winner of some kind. And that’s what this record is about: The different songs are hoping to explore ideas of commitment versus escaping, and winning versus losing, and how you define those things for yourself. And what do you do in the face of rejection? Hopefully this album speaks to that, and I hope it’s a joyful way of exploring those ideas.” — JJ Mitchell via Atwood Magazine (2023)
“Want You Back” rustles with the same indie flair fans of Overcoats have come to love. The duo are perfectly in sync vocally. They utilize an off-white sonic palette to hang their lingering desire to rekindle an old flame, “Walking home on Columbus Avenuе/ Past the spot where I first kissed you/ Didn’t think our love was perfect/ But maybe I just didn’t deserve it/ Now as I lie here wide awake/ I’m tired, but I can’t face another day/ Of waking up without you close/ I messed it up, but is there any hope.” Their light touch spreads the seeds of hope that we can mend the things that are broken.
We meditate on moving onwards past the mistakes we’ve made and blossom in “New Suede Shoes.” Their use of bongos in the opening reminds me of the intro to Dido’s hit “Thank You.” That subtle nod to creams well with the synth wash of pastels they mix in. Through this, you are shown the imagery of new dirtied shoes that you wear with pride as to say no problem will knock you down: “Oh, I, I’m out on the edge, I’m standing tall/ (In my new suede shoes)/ That I spilled something on/ But it won’t be long (’Til I make a move)/ I’ve been in the same place/ Gotta find my own way/ Think I’m gonna go upstate/ (In my new suede shoes)/ I’m standing tall.” I love how they give a bit more spice to this recipe through some nice guitar work.
“Never Let You Go” craves what we don’t have. It may have been a hurricane, but since the relationship has ended they only want to ride out the storm all over again, “Maybe I love the drama/ Knowing I could lose it all/ Breaking up makes me wanna/ Never let you go/ Don’t care if it’s stupid/ No one has to know/ Breaking up makes me wanna/ Never let you go.” All of these words are blanketed in thick synths pulling at the cycle of drama. Its viscosity is a bit too slow in the beginning however, it opens up rather nicely as the song progresses.
Produced by Trent Dabbs, who worked on Kacey Mugraves’s “High Horse”, “Attention” shimmers with a familiar glamour. The hum of synths and guitar cast a coral halo around the soundscape. In this glow, an ultimatum has been made surrounding where this relationship is going: “What you waiting for?/ You know the ball is in your court/ Now I’ve laid it out/ Yeah, we’ve been doing this dance for quite a while now/ You should be pulling me in and turning thе lights down/ ’Cause for you I’m ready, baby/ You got my attention/ Oh, it’s truе, I’ve been waiting/ Done with being patient.” Something about the mix reminds me tailings of summer. Using this fading warmth as our guide, we finally take the plunge to see if this flower is a perennial or will fade with the coming autumn.
“Say My Name” binds us back to the passion smoldering from an old relationship. Grapped tightly by the still burning flame of desire, we can’t seem to shake the addictive feeling an ex still brings, “No self-control, can’t let you go/ Still got this hold on me/ If you text me while I’m out/ I’ll start walking towards your house/ Oh, I just can’t stop myself/ ’Cause you do it so well/ Like a moth to flame/ I’m addicted to the pain/ Like it when you say my name, say my name.” Heated by the gentle radiance of bubbling synths, its glimmering sound nurtures the pull of desire that longing they can’t shake.
“Don’t You Wanna” continues the whirlwind of desire that has flooded the majority of the record. Pressed to see where their relationship is going next, they pour out their need to feel alive: “What do you want? I wanna go fastеr/ What do you need? I need you by my side/ It’s not about where we’re going/ But will you be along for the ride?/ Don’t you wanna come with me?/ Let’s do something crazy.” The duo gives this an anthemic treatment that reminds me a little of Bleacher’s Taking the Sadness Out of Saturday Night. There is something about its hint of desert dryness that brings that 80s singer/songwriter vibe to life.
One of my personal favorites is the warm acoustics of “Horsegirl.” They keep hold of the large landscape of the prior track and populate it with the rustle of lush fields. This embodies the untamed nature that they finally embrace, “Changed the way I see things now/ Flipped my whole world upside down/ Stubborn, said I couldn’t stay/ But am I stuck in my old ways/ You showed me something good/ And I can’t forget it/ But I’m a different breed/ No, you can’t tame me/ Scare off easily.” It just sounds like escaping the bustle of the city to run free amongst the tall grasses of the countryside.
“Green Eyes” is entranced in the spell of lust coming off a new love. This one is anyone who can’t take their hands off their partner, “Wear my kiss like a tattoo/ On your lips like I asked you/ Stay on your mind like voodoo/ Think of me when I want you to/ So far away, but I’m in the mood/ On my way, I’ll be back soon/ Wanna feel our hips move/ Two of us in your room.” Sprinkled in the soft neon glow of 80s-inspired indie-pop, the duo envelopes us with the rosy glow of passion. If you enjoyed some of Tennis’s recent work, I think you’ll dig the groove they give to this piece.
We take a turn for spite after a relationship has soured in “Better Off.” The misfortune they wish upon their ex may not be brutal but provides just enough sting to soothe their healing wounds, “So I hope you lose your keys/ Spill black coffee on your new white tee/ Favorite team goes on a losing streak/ And nobody cares about you/ I’m not bitter, you just wasted my precious time/ But I won’t cry/ I’m better off, better off without you.” I do wish their acoustic packed a bit more bite than its more solemn delivery. Their more tear-encrusted anger just doesn’t give finality I am reaching for.
The title track, “Winner,” sunsets the on and off again relationship that has haunted us from the start of the album. We’ve accepted the end and praise the opportunity this end has given us to take a bitter path forward, “And every ending has a new beginning/ There’s always space out there for something diffеrent/ I’m on my way to find it/ Another round, another ridе/ Another chance to get it right/ Another round, another ride/ Just me, myself and I.” Hana and JJ sound fantastic has this ballas begins to grow its slow building flame. If you are someone who loved the earthier sounds of Taylor Swift’s Folklore/Evermore release, you should give this track a listen.
We close out the record with an ode to free-spirited ways on “Vagabond.” They allow themselves to move with the breeze letting any potential lover know of their transient ways, “I’m a growing tree, a few missing leaves/ I can’t shelter you, don’t sit under me/ ’Cause I might go east/ Try to dance alone on the city streets/ Oh, I’m a vagabond/ I never stay too long/ There’s always a sunsеt that I wanna run into.” Dripping in hues of the sunset, its modern 80s twist makes for a soothing way to close out the record.
I have to say I enjoyed this milker route they have taken with their brand of indie-pop. Vocally, Hana and JJ are at some of their best. Their harmonies ride beautifully across the waves of synths, piano, and guitar that perfume this record. They also maintain a consistent theme of affection to heartbreak and then acceptance from start to finish. I may not get all the nuances of commitment they are aiming for, but can still follow the general ideas they are grasping at. The only song that disappointed me was “Better Off.” It had more of hiss of a kitten than the scratch of a cat I was hoping for. I liked the new path they have taken with their sound. If the pastels of Taylor Swift’s 1989 tickled your ears, this mellower offering is worth diving into.
My overall thoughts on Winner:
Loved it: “Want You Back”, “New Suede Shoes”, “Attention”, “Say My Name”, “Horsegirl” & “Winner”
Liked it: “Never Let You Go” , “Don’t You Wanna”, “Green Eyes” & “Vagabond”
Disliked it: “Better Off”
My overall rating: 7.0 out of 10.
