Tallies - Tallies
6.5Overall Score
Reader Rating 0 Votes

Toronto’s quartet Tallies hit the headlines in the last months of the past year, hotly tipped to be one of the “big things” in 2019. Their self-titled debut album has finally seen its light, released via Kanine Records and Fear of Missing Out Records, and following a premiere on Hype Machine. ‘Tallies’, the Canadian band’s first effort is an 11-track record that blends together dream pop and hints of shoegaze, pop exercises of style and catchy reverberated guitars. The band brings to life a signature sound that draws immediate comparisons to the likes of seminal bands such as Cocteau Twins but despite the initial enthusiasm, all that glitters is not gold.


I am going to be quite straightforward here: Tallies sound like a fresh version of the music they have been brought up with. Vocalist Sarah Cogan and lead guitarist Dylan Frankland appear as diligent as ever when creating enjoyable chord progressions and making the most of their pedal effects. Yet, they lack that personality I would have definitely expected after the build-up to the release of the album.

The opening tracks ‘Trouble’ and ‘Mother’ are two of the four singles released by the band throughout the past 12 months. They mark a soft start, combining Tallies’ main ingredients in various forms. The quartet plays its best pop talking about personal growth and the intricacies of becoming an adult. Less impactful moments, however, follow shortly. And it’s quite difficult to keep up with a record that replicates patterns one after another, making it hard to distinguish between songs.

In a distracted way, the full-length flows with ‘Trains in Snow’, then the dreamy ‘Eden’ and ‘Beat The Heart’, in a slow run towards the end. Where sits ‘Easy Enough’, one of the four singles that filled us with anticipation for the LP in 2018. The closing chapter is, in the writer’s opinion, the best thing that comes out of Tallies’ debut.

Long story short: ‘Tallies’ is a good slice of indie pop. Is it an unforgettable one? Despite the potential, I am afraid it’s not. It’s a well-polished album, where everything seems to be in the right place, yet its characterless moments – unfortunately – cast a shadow over the good things the four-piece is undoubtedly capable of.

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