A year and a half after releasing their debut album life’s a beach, easy life are back with a second, musically more diverse one. MAYBE IN ANOTHER LIFE… is a vibey record that builds on the band’s recognisable, groovy pop sound marked by pronounced synths and funky beats. It is less thematically conceptual and deals with the difficulties of adapting to the post-covid era. It is a dream indie synergy featuring collaborations with Kevin Abstract, Benee and Gus Dapperton.
The first song, ‘GROWING PAINS’, is already indicative of the band’s more mature style; the instrumentals, specifically the guitars and the synths, are darker, the tone of the lead vocalist Murray Matravers’ voice is somewhat lower and the lyrics are hard-hitting. Nevertheless, it is evident that easy life are upgrading their characteristic style, not changing it completely. The next track, ‘BASEMENT’, is similarly representative of the band’s more assertive, sassy and bold music. The power-walk rhythm infuses you with intense feelings of confidence, while the higher distorted sounds lift the generally dark mood of the song.
By the third tune, the album’s sound becomes more reminiscent of easy life’s earlier creations. Even though Kevin Abstract’s collaboration ‘DEAR MISS HOLLOWAY’ could easily be a part of their first album, it is a foundational song on this one. It is a construction of reality that set in motion the process of creating the second record. According to Murray, it is “the cornerstone of the second album”, which also contains the title in the chorus. Describing Matravers’ crush on his teacher, the suffering when expectations don’t match reality and the desire that they would give it a nostalgic feel. It reflects youthful naivety and hopefulness through somewhat cathartic lyrics; “Maybe in another life / we could try and roll the dice, and get it right.”
The whole album is holistically connected by a chill, mid-tempo groove and almost confessional, conversational lyrics. While more dancey songs make up the majority of the record, beautiful ballads add a soulful charm to it. ‘BUBBLE WRAP’ is a faint, melancholic tune about the current state of society, toxic patterns and the wish to escape. Its haziness is amplified by soft vocals and long melodies. Similarly, the calm and retrospective ‘MEMORY LOSS’ almost seems like a mellow diary presented in a musical form; “Thinking back in retrospect / I should have had more self respect.” The less strong and subtle rhythm section directs the listener’s focus to the guitars and the lyrical revelation of intimate circumstances. Both the music and the lyrics seem to gently follow the singer’s nostalgic stream of thought.
‘MORAL SUPPORT’ is the softest, saddest song on the album that still warms your heart at the same time; “So when the sun is shining down upon your face / don’t feel out of place / for that’s where you belong.” Its dreamy flow makes you float in your own world and takes you on a journey of different emotions. The muffled instrumentals are enhanced by alien-like sounds and understated vocals. Another instrumentally light track is ‘OTT’, a sanguine pop duet about worry for a dear person who is dealing with mental health struggles. The gentle synths give the tune a flowy vibe, while Benee’s soft voice makes the dialogue seem even more real and touching.
‘SILVER LININGS’ breaks the warm, melodious turn the album has taken and adopts a more positive, lighthearted attitude in which Murray’s vocals remind of Mac Miller’s K.I.D.S era. The extra value of the song lies in the strong drums that are completed by strange, trippy, high-pitched sounds.
‘CALLING IN SICK’ is another tune that makes us feel like we are either in Murray’s head or have access to his diary. We follow him through his day which has already started with a mistake. The jazzy solo at the end, grounded in brassed instruments and unusual synths, is the highlight of the song and is not an isolated case of genre expansion. ‘CROCODILE TEARS’ is a slower, flowy monologue, characterised by distinct vocals and a jazzy piano, saxophone and The Beatles-like backing vocals.
As one of the more experimental tracks on the album, ‘ANTIFREEZE’ ft. Gus Dapperton is a combination of both full and odd vocals, a creative, incredibly groovy rhythm and fresh lyrics. The song was inspired by the winter, which is especially evident in the distorted vocals of the cold, spooky chorus; “I could take a sip of you and get brain-freeze / You could take a hit of this and melt down to your knees.”
‘BEESWAX’ is a surprise. The tune combines bold, confident lyrics with a darker sound that reminds of Twenty One Pilots. It’s an edgy, slightly eerie piece with distorted vocals and a captivating guitar hook. According to Murray, the lyrics depict the overwhelming sensation of invasiveness in a post-lockdown era; “I’ll be in my sequence / It’s none of your business / You should mind your beeswax.” The slightly ominous instrumentals reinforce the feeling of aggravation at nosiness and disrespected boundaries.
Another song suggestive of the band’s decisive and salient no-bull attitude arising from mistakes that have been made is ‘BUGGIN’. It is characterised by futuristic instrumentals and a punchy, catchy chorus.
‘FORTUNE COOKIE’ is extremely catchy due to its commonly used chord progressions and bass rhythm, which are reminiscent of The Libertines’ ‘You’re my Waterloo’ and Sam Smith’s ‘I’m Not the Only One’. It was written as a message to the band, to help them deal with anxiety and fear. The positive and motivational lyrics create a wholesome atmosphere and remind everyone of what is important – to take care.
Although easy life have kept their characteristic and upbeat synthy instrumentals throughout the album, they have enriched its musical scope by adding a darker, more uncanny sound and jazzy elements. MAYBE IN ANOTHER LIFE… is an honest, uplifting, yet gloomy record, illustrating the gravity of doubt and regret, while tackling issues such as anxiety and self-destruction. It feels more personal and less escapist, it is infiltrated by awareness and acceptance of issues as well as a firm decision to resolve them.
Words by Lara Lovrič
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