Releasing on Sep.18, Babehoven’s I See Them, I See Me features a selection of vulnerable and poetic stories made vivid through a steadfast indie folk sound.
Following their 2024 release, Water’s Here In You, the album exemplifies Maya Bon and Ryan Albert’s combined musical skill, offering 14 tracks grounded in soothing simplicity and relatable linework.
I See Them, I See Me begins with “You’re a Liar,” a well-executed introduction full of pretty moments.
Guitar line harmonies, resonant strings that split octaves, and waltzing plucked notes add beauty and support each verse’s vulnerable lyrics.
Bon’s voice effectively conveys the song’s emotions, especially when she sings “you’re a liar” with strategic intensity. Her riffs and vocal flips add polished flourishes to a well-rounded piece.
Bon’s words convey her belief that she asked for this relationship and state, “I’m wishin’ there’s someone I can love, someone I can trust.”
“You’re a Liar” examines a relationship from a low, semi-regretful place, but “When You Look at Me” features moments of more extreme emotional contrast.
Folky strumming cements the track’s conflicting lyrical tones; it balances out heavy beats and moments of droning.
Bon sings “I want you all the time,” and later moves into “I don’t want your safe. You don’t know the pain. Now, I want you to feel the pain; you’d know how hard it is to love you.”
She simultaneously integrates vocal shifts into these lines, drifting between spoken and softly sung phrases.
Bon and Albert’s next move is to take a “Lasagna” break. This track is full of picturesque descriptions and well-constructed, complex layers; its vocal melody leans pop due to its instrumental-opposing simplicity and Bon’s bright, slightly twangy tone.
New elements seemingly reveal themselves with every listen on this instrumentally diverse track. Its steel pedal-like sound and belted ending vocals are its most striking features.
Instead of channelling country sensibilities through brightened vocals, “Monster” weaves them into layers of guitar, banjo, and a thumping bass, cleanly tying these elements together with echoing bluegrass strings.
“Monster” resembles previous tracks in an almost negligible way because it contains the variation needed to keep it feeling fresh.
Bon’s twang reassumes its prominent past position on “Blue Around You,” a full-on frolic into indie-country, bordering on outlaw territory.
“Blue Around You” is an album highlight because of its well-balanced and clean instrumentation. At times, its evenness makes the lyrics sound murky, but the song’s key phrases come across clearly.
Bon sings about the appealing and negative aspects of a risky romance, repeating in every chorus that her heart feels full but not enough to hide the relationship’s drawbacks. She seems to embrace these feelings, singing, “there’s nothing in the room but this hill, and I’m gonna die on it.”
“Something True” continues the duo’s reflection on relationships with a return to indie form, yet it maintains light country-folk elements. Bold harmonies and bits of accordion surround lyrics about the bittersweet uncertainty that comes with drifting apart.
The orientation and overall feel of “Red Interlude” transport the listener to a mid-set changeover or pre-show warm-up atmosphere. It is chaotic and transitional in an appealing way, capturing measured improv from real-life, in-between moments.
After the interlude, the tracks resume on a lighter, solemn-meets-upbeat note with “Jess Has a Place.”
This song’s balanced and experimental nature is what makes it impactful.
Elements like bass and percussion that don’t usually get the loudest volume receive generous amplification, and soft, high strings accentuate Bon’s midtone storytelling. Weaving saxophone moments meld everything together almost seamlessly.
Everything, including the ramped-up bridge and piano solo ending, sounds meticulously constructed and rich like an orchestral piece; however, Bon’s lyrics become muddy because of all that surrounds them.
“Am I in a Dream” sees Babehoven’s lyrics take on purposeful muddiness in their meaning; as its title suggests, the track is dreamy and hazy, and words like “levitating” and “vibrating” lend to the ambience of a group high.
This ethereal soundscape features occasional glitches meant to disrupt the intermingling lines supporting the song’s poetic phrases. Bon’s vocals gracefully depict someone named Flannery laughing while crying and declare, “the light is the feeling.”
Even with its slightly disorienting lack of clarity, the song’s calmness and artistry become apparent as it progresses.
This sense of calm takes a complete 180 for “Wave Has a Place,” which is pure anthemic positivity and energy.
This song has little lyrical substance, but its strong, diverse instrumentation carries the energy of a live performance. Overall, it’s a likeable ode to home, safety, and love full of mechanical and string components.
This energy settles into the indie folk staple sounds of “Neck.” Some of the simple guitar lines and slower moments feel recycled from previous tracks, and its slow-building structure feels worn. However, the song’s dreamy guitar maintains some intrigue as it gracefully echoes Bon’s vocals.
“Beetle on the Scene Pt. 2” serves as another transition but ends too soon.
The interlude’s synth-filled electronic element and jazzy percussion are enticing enough that interest would easily endure if this song were full-length.
“Three Reds” revisits a safe sound for Babehoven, with their signature instrumental lineup and bright, clear vocals fully intact.
While the track needs more low and mid-tones for variation, its lyricism remains sharp. Vivid, troubling images of cracked mirrors, bleeding wounds, and finding signs of life emphasise the urgent, agonising aspects of humanity and comment on connectedness.
“Pelorus” closes the release with Babehoven’s staple sombre guitar lines and poetic lyricism. Bits of glassy synth and keyboard shimmer behind repetitions of “there’s no one left.”
The track ends abruptly with a short song demo, reducing the impact of the soft landing created before it. Overall, it left the listener wanting more layers and a lighter resolution.
I See Them, I See Me reflects Babehoven’s confidence in their style while highlighting a strong commitment to frequent experimentation.
The care put into every instrumental line and heart-led vocal choice is apparent. This compassion deepens the album’s emotional impact and may broaden its appeal beyond indie-world audiences.
At times, Babehoven may convey intense anguish, floaty romantic moments, and every complicated, nuanced emotional state in between, but one thing’s for sure: there’s nothing blue about this release.
The post Babehoven’s I See Them, I See Me: Poetic lyrics untangle nuanced relationships with bold, experimental indie-folk flair appeared first on Indie is not a genre.