LURKING in the looming shadow of Jayson Gerycz’s presence in Dylan Baldi’s much fawned over  alt-rock outfit Cloud Nothings, it’d be fairly easy for people to have unfortunately bypassed Total Babe’s initial outing Swimming Through Sunlight; a 10 track display of lo-fi ferocity that was one of the most tragically overlooked records of 2011.

Now resurfacing with the incredible Heydays, it’d appear that the time has rightfully come for the Ohio based four piece to step out from the depths of the shade and bask in the sunlight.

Led by an intense and borderline abrasive riff that dips its toe into the realm of angular, mid 80’s post punk and the rowdier side of the C86 spectrum, the album’s initial offering ‘Blurred Time’ serves as an effective mission statement for the thrilling 30 or so minutes that is to follow.

The record’s title track comes to light , with the band adopting a more pop leaning aesthetic which is set apart by the more discordant elements which permeate through its saccharine surface. Constructed in the mould of a traditional pop song, it features a sound which recalls the hazy indie rock of Bombay Bicycle Club’s I Had The Blues But I Shook Them Loose despite the fact that this was most likely wholly unintentional on their part.

‘Bone Dry Eyes’ opens with a 60’s garage stomp and distant, swirling synths that reside within both early Pink Floyd and more contemporary acts such as Moon Duo. The juxtaposition of the two disparate elements that are present work to make the composition  one of the record’s standouts; reaching its crescendo in a hail of feedback and screeching guitar.

The percussive virtuosity of Gerycz is on display throughout almost every minute of this LP, but is particularly displayed and highlighted within the mesmeric ‘Circling.’

With a guitar line that gives further credence to the hard edged punk that serves as the album’s foundation, one aspect which registers as particularly noteworthy is the warped utilisation of saxaphone that recurs infrequently throughout it. Courtesy of Gerycz’s previously mentioned bandmate Dylan Baldi, it meanders on the fringes of the track’s foreground, making for one of the most inventive uses of the instrument to strut its way into rock ‘n’ roll since James Williamson reinvigorated the instrument upon Kill City. 

‘We’ll Come Around’ documents the adoption of chilling new-wave synths set against a back drop of murky guitar that borders upon artists such as Throwing Muses and Bob Mould’s Sugar.

A notable tidbit which must be pointed out in reference to this record’s overall sound is the manner in which they’ve disregarded the lo-fi production values of their earlier output in a brazen fashion. Luckily, what was most likely weighed up as a calculated risk to not lose the essence of their sound has worked tremendously well, enabling some of the band’s finer points and intricacies which had perhaps been obscured to shine through like never before.

A stark contrast to the high octane riffs and frantic drums that form the basis of the album, ‘Sunny Side’ is a sumptuous piano piece that infers a belief that they won’t be pigeonhold or forced to adhere to the standardised and pre-concieved routes which a punk band are almost cajoled into taking with their output.

‘Repeat Gold’ is truly charming, built upon a folk tinged hook, their heavier tendencies loom heavy in the background, occasionally bubbling to the surface before dissipating as soon as they emerge.

Clearly looking to round the record off in an intriguing fashion, ‘Can I Turn You On’ serves as a fantastic way for them to do so, bordering upon dream pop before climaxing with dramatic licks and frenetic percussion.

What is made crystal clear upon on this record is the fact that Total Babes refuse to be deterred by any comparisons to their contemporaries or cohorts that may be leveled at them, as demonstrated by the various curveballs which they unrepentantly lob at the listener; each one met with both surprised delight and wondrous bemusement.