Big Wows is heavier, harder and weirder than Stealing Sheep's previous work. Bold neon pop songs with rave percussion, steelpans, dreamy segues and breathy experiments. The *fsszzt* sound of lemonade opens the album with a hyper-real sense of optimism that progressively reveals the cracks of dystopian irony amidst sugar - coated pop; held together by Emily Lansley's bass guitar, Luciana Mercer's drum kit, Rebecca Hawley's synths, and the trio's swooning steely vocal harmonies. Just as the title suggests, Big Wows is both cynical and optimistic: dreaminess and pop dance rhythms are cut with eye rolling vocal styles inflected by heartfelt lyrical messages. "We hit upon this conversational-style between the vocals and have alternating lead melodies," Bex adds. "There's a sarcastic tone to some of the music but there is always a strong willfulness to incorporate honest integrity, which is hard to do but refreshing when it finally comes out."
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Big Wows is heavier, harder and weirder than Stealing Sheep's previous work. Bold neon pop songs with rave percussion, steelpans, dreamy segues and breathy experiments. The *fsszzt* sound of lemonade opens the album with a hyper-real sense of optimism that progressively reveals the cracks of dystopian irony amidst sugar - coated pop; held together by Emily Lansley's bass guitar, Luciana Mercer's drum kit, Rebecca Hawley's synths, and the trio's swooning steely vocal harmonies. Just as the title suggests, Big Wows is both cynical and optimistic: dreaminess and pop dance rhythms are cut with eye rolling vocal styles inflected by heartfelt lyrical messages. "We hit upon this conversational-style between the vocals and have alternating lead melodies," Bex adds. "There's a sarcastic tone to some of the music but there is always a strong willfulness to incorporate honest integrity, which is hard to do but refreshing when it finally comes out."
