A psychedelic exploration into a world masterfully painted through quirky beats and catchy melodies
Loveseat is the sophomore album of the American bedroom pop producer Sven Gamsky, known under the pseudonym Still Woozy and if one things clear from this release it’s that he’s found his sound and he knows it. I first heard Still Woozy’s music in the winter of 2020 while I was a fresher at university, and the carefully sculpted beats still transport me back to that time when I found so much comfort in his music. I was excited for this release, anticipant to hear what direction Sven would steer his creativity into this time. In no way was I disappointed.
From the album’s outset, Woozy’s staple psychedelic sound is present. Beautiful dialled guitar tones and perfectly placed synthesisers make up the backdrop for this 42-minute escape from reality. The album’s opening track, “Again”, begins with an instrumental that conjures memories of an early Tame Impala, circa 2012. Saturated, fuzzy guitars feel beefier sounding than the ones that we’re used to hearing from Sven, and the layered falsettos in classic ‘Woozy’ style suggest a mixture of old and new is to be expected throughout this new LP. While slightly more melancholic than what we’ve come to expect from the artist, the introspective nature of the lyrics allows the listener an insight into the producer’s mind as he asks “Again? This can’t be happening” as he ponders finding himself in a situation he’s obviously been in before.
The first single released on the run up to ‘Loveseat’, Shotput starts with a boxy drum beat and some ‘woodblocky’ percussion, a staple of the bedroom pop sound Still Woozy has become known for. The warm, lo-fi guitar and falsetto vocals make the music instantly recognisable and it’s clear it’s Sven doing what he does best as he jumps from big, airy choruses and laid-back verses. A love song which feels fair to assume is about the artist’s wife and mother of his child, whom he married back in 2022. He sings “Just barely five foot, you hit like a shotput, and you got me”. The track wouldn’t have felt out of place alongside some of Gamsky’s early singles, bringing to mind the saying “if it ain’t broke, don’t fix it”.
The album overall feels like a perfect soundtrack for a relaxed summer evening, enjoying an ice-cold Corona while the sun slowly sets. Most of the tracks are slower than some of the classic singles such as “Goodie Bag” and “Window” and display a more well-rounded Still Woozy as the songs seem more considered from production perspective. The 32 year-old is known for releasing music shortly after a song’s completion, not wanting to wait for the world to hear what he’s made. This was the case for the track “Run It Back”, as it was completed only two weeks prior to the release of the album and easily stands out as one of the earworms.
The mid-album piece ‘Frida Kahlo’ is one of the more unexpected additions, showcasing Gamsky’s experimentation with a different genre that feels almost folksy. An acoustic intro that’s natural imperfections make the instrumentation feel raw and honest, lines up with the lyrical content of the song and the openness displayed by Sven by writing it. The lyrics suggest going through a difficult time and longing for someone who’s no longer there. “The trees are shaking in the ground, and I just wanted to have you around”. It’s my personal highlight of the album.
Every track on the album would still be a great song as a standalone single, “Lemon”, “Forwards” and “Houston” are particularly noteworthy takeaways. My suggestion; go and listen to it! You’ll be hooked.