VIAL – LOUDMOUTH | Album Review
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There’s a special type of baggage that comes with being a “TikTok Band.” It’s not uncommon to see Tiktokers who also happen to make music express their reluctance to promote their songs on the app for fear of such stigma. This phenomenon also goes both ways with groups like Beach Bunny, who have enjoyed “hit” TikTok songs, but refuse to let themselves be defined by that success. With the lines between “art” and “content” becoming increasingly blurred, the desire for such separation is understandable (not to mention the unsavory company that TikTok musicians may find themselves among). But unlike the now-infamous trio of pop-punk girlbosses, VIAL’s rage runs deeper than Manic Panic hair and performative vulgarity— as does their collaborative spirit. They’ve embraced the “TikTok band” label and everything that comes with it, sharing goofy videos about their idiosyncratic fashion choices and how they found their drummer on Tinder, all the while using the platform to promote their band. Perhaps most importantly, the rapport the band members have with one another feels natural. Their friendship seems like a genuine necessity of their creative process rather than a tacked-on marketing gimmick.
VIAL are musicians, not influencers, and on their sophomore LP, LOUDMOUTH, they’re making pop-punk for the Extremely Online. Their targets are often digital age villains like the irony bros and devil’s advocates they roast on the roaring album opener, “Ego Death.” Lyrics like “What about your life on Twitter?/What about me makes you bitter?/I won’t be your babysitter!” make it clear from the get-go that VIAL are taking their riot grrrl roots and updating them for the 21st century.
That’s not the only way that VIAL draws inspiration from the groundbreaking genre while filling in some of its blind spots. For decades, the riot grrrl movement has been rightfully criticized for being overwhelmingly white, cis, and privileged. VIAL find themselves in good company with artists like Meet Me At The Altar, Nova Twins, illuminati hotties, and Pom Pom Squad, who are bringing refreshing inclusivity to the riot grrrl revival. Nonbinary identity and rejection of gender roles are central to VIAL’s music— as it says in their social media bios, they are NOT a girl band.
Even when VIAL’s influences are apparent, they manage to put an original spin on the ideas of their foremothers. Songs like “Roadkill” and “Piss Punk” see them channeling early Sleater-Kinney as they take aim at sexism in the music industry. Inspiration from punk predecessors like Bikini Kill and Bratmobile is clear in lead vocalist Taylor Kraemer’s snarky, flippant delivery on “Planet Drool” and in the song’s schoolyard taunt intro: “bratty, bitchy, money-hungry/ruin the fun for everybody” is chanted in unison over Miss Mary Mack-style hand claps. Standout single “Violet” is a power-pop ballad about queer longing and the confusion between romantic and platonic feelings. Its title-- along with its plucky guitar riffs and rolling snare-heavy drum fills --call to mind the riot grrrl classic of the same name from one of the genre’s most controversial icons.
All this being said, some of their efforts to make riot grrrl sound original and up-to-date are less fruitful than others. Lines like “I can’t begin to explain how much that I fucking hate you/you fucked me up/you talk too much/and I will never date you” come off more whiny and juvenile than subversive. “Therapy Pt. II” (the sequel to “Therapy” from their debut album Grow Up) leans on straw feminist sloganeering— if sloppy rhyming of “get therapy” with “toxic masculinity” doesn’t give you enough second-hand embarrassment, ad-libs like “plus you’re really bad in bed!” will have listeners questioning how far VIAL’s gender politics have progressed past 2016 Tumblr discourse.
Their talents shine brightest when they’re making spunky pop songs that are sweet without being saccharine. Cuts like “Thumb” and “Something More” incorporate tinny drums, bouncy surf-rock guitar progressions, and infectiously catchy hooks destined to delight fans of The Regrettes and the aforementioned Beach Bunny. “Vodka Lemonade,” a ridiculously fun song about some decidedly un-fun things-- social anxiety, self-doubt -- features captivating stop-and-start progression, sparkling vocal harmonies, and a kickass horn solo. Even during moments of frustration, uncertainty, and despair, VIAL aren’t above joking about drinking their weight in caffeine and being left alone while their friends go out without them. “21” is an excellent album closer, a quarter-life crisis anthem whose sincerity doesn’t come at the sacrifice of its sense of humor. This seems to be the key ingredient to VIAL’s recipe-- no matter what they do, they’re gonna have fun with it, and we’re lucky that they’ve brought us along for the ride.
Grace Robins-Somerville is a writer from Brooklyn, New York. You can find her on Instagram @grace_roso and on Twitter @grace_roso.
