Laveda’s Love, Darla opens in a haze – distortion pushing against reality, vocals in between presence and distance. A feeling only capable in the fading summer hours of this early autumn album. The Albany group is no stranger to working in pieces, creating records that stand on a strong hill of no resolution. For duo Ali Genevich and Jake Brooks, instability is not a flaw so much as it is a pedestal – shaping every note, every pause, every moment that pushes against the noise.
The record unfolds starting with “Care” – which doesn’t provide so much as the title may suggest. The guitars are ragged, distortion pulled nearly threatening collapse, with vocals sounding half-dubbed from an alternate tape. It sets the stage as a mosaic of disorder and shoegaze revivalism. Not unlike the rawer moments of their influences like Paper Lady and Holding Hour, Laveda chases the sensation of the unsteady. The impulse extends with high velocity into “Cellphone” and “Strawberry”. These songs feel made for the VFW Hall, the local house show, the dusty dive bar where the PA system will blow out.
It’s the quiet moments, however, that complicate and bring a certain fragile depth to the album. Songs like “Dig Me Out” slow the frame, with admissions like “I know you’re gonna kill me / I need your love it’s endless” cracking the worship of volume with matter-of-fact clarity. It’s not a plea, but a Didion-like observation. It’s one of the only times we find comfort in the record, in a bizarre way – as the honesty feels buried within us, too. The almost hushed nature reappears in the closing track, asking “when you come around, will you think of me?”. Beneath a rock hard surface, the album ultimately serves as a love letter.
Yet, lyrically, Laveda avoids the temptation towards confessional sprawl. The words arrive clipped, anchoring the sound rather than explaining it. Self doubt, dislocation, the struggle to inhabit one’s own life; they’re all present themes, but rendered bluntly, almost sparsely, while the guitar does the emotive work. In this way, this record is separated from the melodrama of its peers: the restraint is sharp and cutting.
Laveda’s Love, Darla feels like the kind of record you stumble into sideways: half-buried on Bandcamp, just caught on your college radio that still gets it right now and then. This record belongs to the East Coast DIY circuit, where distortion is structural and vocals barely cling to the surface. Give it a listen on Bandcamp and check out their current tour dates!
You can listen to Love, Darla out now as well as get it on vinyl and CD.
“Darla is sort of like your alter ego… the person you thought you were going to be, but maybe you’re not.” Is it a love letter? A letter from a former enemy? Or maybe a reflection of who we want to be? Love, Darla, the newest release from NY-based duo Laveda, perhaps comes from a place of wanting. We reflect on choices we don’t make, wondering how our life trajectory would’ve changed. Filled with noise and the hustle of city life, this latest project aches to be in our headphones as we walk across streets and alleyways.
The ugly hug recently had the pleasure to sit down with Ali Genevich and Jake Brooks of Laveda, to talk about Love, Darla and more.
Photo by Julia Tarantino
This interview has been edited for length and clarity.
Who’s Darla?
Ali: Darla is sort of like your alter ego or maybe that person that you thought you were going to be, but maybe you’re not. It’s the person that you wish you were.
Jake: If you made other decisions in your life in an alternate reality. She’s definitely a badass.
Is she the narrator of this album?
Ali: I would say so! It’s not always in a first person or omniscient sense, but I would say so. I think every song has a different version of her.
I wanted to talk about “Strawberry,” your latest single. You guys talked about how it is very formative in the evolution of your creative processes, where it gave to a fully realized sound after being tested live. When did you know that the track had crossed from being a live track to being a fully finalized version?
Ali: I feel like it was on tour. At some point, we took it out in March of 2024, and we had it and “Heaven” sort of demoed out. And we had an idea of what we wanted to do for the next record, but most of it wasn’t written. And we were like, “Oh, we should take these two songs out on tour and see how they feel in a live setting and make some adjustments and put our own little flair on things.” And I think that “Strawberry” had a very natural evolution, where we would play it, and vocally I remember trying some new things and straying really far from the original vocal performance that I did in the demo. So by the end of the tour, we had a version that felt very different. And just the energy that it was evoking, I was like, “Okay, I think I want the rest of the record to sort of feel like this.”
Jake: I think we knew maybe after our tenth show in Austin.
Ali: We were playing a lot of shows in one week and doing the songs three times a day almost. So, you have a lot of time to think about the set and think about what you’re doing, and you have a lot of creative freedom when you’re playing that much. I don’t know if I would recommend it necessarily, but it was fun in some ways. It was cool to spend that much time with one set too. I think that was about the time we figured it out and then the rest of the record came later, but that definitely inspired everything else that came later.
You talk about a feeling – with the context of New York, it kind of feels like walking around at 4 a.m. maybe with some dark alleyways. What imagery do you invoke from it? Is it intentional at all?
Ali: Definitely walking, movement in some way, I think just goes hand in hand with the record. Whenever I’ve been listening to some of my favorite records since moving here, it’s been in transit. It’s just sort of that chaotic movement feeling and headphones specifically. I think it’s like a very headphones listening sort of record, so you can just be in your own world, while everything else is moving past you.
I love that. You also mentioned playing unfinished songs during your sets – did audience reactions ever shape how the songs ultimately developed?
Ali: Definitely. With “Strawberry” specifically, I think my vocal performance had a lot to do with what feedback we were getting at the end of shows. I would have people say, “By the way, I really like when you would scream during that one song.” And it would be something that I was trying out, and so I definitely think I took that to my heart for sure. And I was like, “Well, I like doing that too.”
You guys also mentioned digital burnout before. How does it feel to navigate the tension of needing to promote yourselves while also being drained by this personal burnout that you guys experience?
Jake: I think it’s a never ending struggle. We’re on our phones a lot promoting. And I think that goes for everybody that does something that they like doing, I feel like American commercialism and capitalism bleeds into everything that we do. It sucks and it’s annoying. I think that digital burnout definitely is like the most modern way of experiencing being sick of capitalism. Music is supposed to be about hanging out with your friends and meeting people. That’s one of the things I really like about music, is that you go to all these small cities and towns and they welcome you into them, you know? And you meet so many cool people out of it. It’s such a local thing, playing music and going to different cities, you just meet all these people that are so present in their own reality. And so it feels weird and superficial to be doing stuff like that, and also having to be promoting yourself and selling a product. It’s a tough thing to navigate.
Ali: I’m excited that the label that we’re working with for this record were like, “Sure, selling records is good, but at the end of the day you should be focusing on the music.” It’s cool that they recognize it, whether or not we can do it. We all work day jobs, but I feel lucky to even be able to put out a record, and that people care about it.
I wanted to talk about one of your songs, “Cellphone.” I think that’s one of my favorites off your record. I got to look at the lyrics and I particularly like the repetition of, “I don’t need to know that my hair looks like a boy.” To me, it captures unsolicited critiques, projecting insecurity, narcissistic tendencies, and such. I was just wondering more about the story behind it.
Ali: Totally, I feel like you hit the nail on the head. It’s funny because when we first wrote that song, it was really just total gibberish that I was singing into the mic for the demo. And I just had this melody of “I don’t want to be your girlfriend anymore, I don’t want to be your boyfriend anymore.” And then I had the hair lyric, and was like “God, I should probably change that, it doesn’t make a whole lot of sense.” And then I remember for days, once the song was totally done, thinking I gotta come up with other lyrics. Then so much time passed and I was like, “I just can’t sing anything else there,” like it made sense to me and that’s what I was feeling behind it. It doesn’t matter what people say, but it’s just, like, why do we even need to think about it? It’s like, you’re upset about it, but you also don’t give a fuck at the same time.
You’re celebrating the record with a release show at Baby’s All Right – what does playing that stage mean to you?
Ali: We’re super excited, it means a lot!
Jake: We grew up as a band hearing the mysterious tales of Baby’s All Right and how amazing the place is. It’s kind of a milestone thing to play there. We played there once, opening for our friend’s band and now we’re excited to headline it.
Ali: The sound is so good there and the staff is so awesome. It’s gonna be the craziest Tuesday ever.
What do you hope people will carry with them about Love, Darla, especially after the show?
Ali: I hope they have fun! I hope they can release some sort of energy at the show, because the record is very fiery and a big release of energy. I hope they can let go of something and just enjoy themselves.
You can listen to Love, Darla anywhere you find your music as well as on vinyl and CD via Bar/None Records.
Written by Chloe Gonzales | Featured Photo by Mars Alba
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