Opera Singing at the Salsa Bar by Halloweens – ‘…An Internationalist's Dream’
Justin Young // Vaccines Concert (via Flickr, Creative Commons Licence)
For those of us who enjoyed the Vaccines performance at Glastonbury 2024, we can now broaden our horizons with Halloweens. As lead singer and guitarist, Justin Young and Timothy Lanham bring us their second album of their side project Halloweens. Their album Opera Singing at the Salsa Bar is the perfect summer selection, heavily inspired by European synth-pop as well as British artists from the 80s and 90s. The result is a decadent and bohemian experience with truthful and reflective lyricism. By the end of the album, you cannot help but wish to don a merino wool sweater tied around the shoulders, as the group often do.
Opera Singing at the Salsa Bar builds on the band’s 2020 album Morning Kiss at the Acropolis, furthering their European style and sound. This is particularly interesting in a post-Brexit era, displaying a desire for closer unity with our European neighbours within British culture and media. Halloweens continue their European journey, improving both lyrically and sonically from their 2020 album. Like Byron, Halloweens have continued with their ‘grand tour’ (musically), leading to a diverse and vast-sounding album.
The album begins with the solemn piano chords of ‘What Did I do to Love,’ as Young sings earnestly and reflectively about a past relationship. Opening with ‘You were floating around the bedroom with a bowl of fruit, thought the light was cute, took a snap.’ By romanticising the mundane, this allows the listeners to relate to ordinary moments that feel special because of the person they're with. The solemn piano is suddenly replaced by a punchy chorus and a heavy guitar riff, with the words “What can I do for Love?”, emphasising that regardless of age, love can be incredibly illusive.
‘Colombia Record,’ the first single released in the build-up to the album, embodies the entire ethos of Halloweens and their Eurocentric approach. This is displayed in the music video, as Young and Lanham are seen chasing each other around the streets of Paris in colour inverted polos and sweaters. This aesthetic for the group is matched by Lanham’s catchy synth-pop riff on the keyboards, providing the backbone of the song. The pre-chorus strips back to a single kick drum filling the space, alongside Young’s lyrics, “And you're gonna make me hate this song, Oh I wish I put another one on.” Despite Young’s self-deprecation, it’s a classic pop song executed with style and direction. Lyrically, the song pursues the idea of adventures in foreign countries, in the lines “I’m waiting at the coffeeshop in Guatape” and “Giving me, an alias I guess a lot can happen in a week.” The instrumental chorus constructed of Young and Lanham’s whistles gives this song an undeniable hook for the listener, ideal for open-air drive on a hot summer’s day.
Further into the album we are greeted by another incredibly energetic and emphatic synth riff to open the song ‘Mrs Us.’ Lyrically the song is incredibly reflective of past nights out, and of being young with very little money, while making the most of your situation. Contrasted with the romanticisation of youth are the slightly more extravagant ideas of travel in this song. This is done through Young’s reference to “Growing up in Copenhagen…, [being] in Venice having dinner with a singer.” Overall the song builds on the album’s vibe of cosmopolitanism mixed with uniquely British experiences.
The theme of reflection persists with ‘Prophets of Nostalgia', as Young (now 37) reflects on the fact that he, along with many of his peers, are not the same fearless 20-somethings they once were. Young does this with an air of grace in his ability to recognise his struggle, and does so through the lyrics: “Watch us getting older, Letting life just slip away.” However, amongst the gloom of getting older is the recognition that perhaps the social media generation will “Never be as real as us.” And for the current generation, “Nothing’s gonna seem enough.” The melody to this song revolves around the subtle presence of keyboards with accompanying bass and drums, allowing the lyrics to take centre stage.
Perhaps the most appealing title to a song on the whole album is ‘Star Wars on the Saxophone.’ The song is introduced by a strong chorus effect on the guitar, giving a jangly sound to the chords. The guitar takes a much more central role in this song, whether that be supplying a rhythm for the verses or the solo after the post-chorus. Credit also needs to be given to Lanham’s backing vocals that have played an integral role throughout the album, but are just as significant for this song in building an atmosphere, reminiscent of 50s doo-wop tunes. Young continues to tell the story of a couple who “were working on a problem, and carved it out of column”, implying the tough nature of resolving relationship issues. This is immediately contrasted by the lyric “You must have thought my heart was an artefact”, reflecting on the delicate nature in which love tends to reside.
The penultimate song of the album entitled ‘Convert’ presents itself as a delicate ballad, listing the number of things someone might do to earn the affection of another. The idea of besottedness is created through the piano melody, giving the song a fragile feel. Young discusses the limits to which the character in the song would go for the one they love, including “[being] raised a Catholic but I would’ve converted”, along with less dramatic forms of devotion such as “[taking] the mushrooms with all of your friends, [and leaving] the city for all those boring weekends.” Overall the song acts as a testimony to all the acts we as people do, for the ones we love.
Opera Singing at the Salsa Bar is a complex and atmospheric album, with numerous catchy synth-pop tunes as well as reflective ballads. The album provides the ultimate escapism into a bohemian and decadent lifestyle of travel and life-changing experiences with strangers. This album is truly an internationalist's dream; as the album gives reference to locations, people, and cultures from all over the world. It provides a cultural bridge between a post-Brexit UK, and the rest of the world, due to the borderless nature of art and free-expression. Young’s reflective lyricism and Lanham’s catchy riffs complement each other immensely, gifting us as listeners with the ideal soundtrack to Summer 2024.
Edited by Julia Curry - Music Editor
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