Upon the release of their debut album Madra in January 2024, it is needless to say that the Galway-based indie rock band NewDad has transformed the direction of the indie shoegaze genre in recent years. Madra received cult status amongst the indie scene shortly after its release, and the trio have embarked on a steady ascent ever since, leading to appearances at huge festivals such as Glastonbury and Chicago’s iconic Lollapalooza.
NewDad’s latest album Altar dedicates itself as an ode to Galway, with the band’s candid lyricism capturing the conflicting feelings of ambition and homesickness that they experienced alongside their recent rising fame and move to London. Genre-wise, Altar aligns itself with NewDad’s previous work and smoothly slots in after Madra as a follow-up album in the band’s discography. As a band, they certainly take an eclectic approach with musical genre, from pinnacling shoegaze to playing with punk rock elements, and Altar as an album is no different. With raw lyrics and bending reverb, Altar successfully captures the universal battle with identity in a relatable and digestible way.
The exposition of Altar sees the trio double down on their shoegaze roots, beginning ‘Other Side’ with a tinkling, bedroom pop-esque motif before main vocalist Julie Dawson openly admits that she thinks “anywhere but here is fine by me” — a confessional lyric seemingly expressing a lack of belonging and homesickness. NewDad certainly use ‘Other Side’ to showcase their exploration of instrumentation that is strikingly different to their debut album, from the digitally made riff that starts the song, to the intense change in the use of Sean O’Dowd’s lead guitar. ‘Other Side’ was a perfect choice to be the first song on the album, and it definitely sets the tone for the rest of Altar.
The upcoming album has already received some acclaim prior to its official release, due to the issuing of their single ‘Roobosh’. When listening to the album as a whole, ‘Roobosh’ makes an effort to stand out with its grungy melodies and Dawson’s drawling lyrical delivery. Unlike some of their prior works that focus on yearning and nostalgia, the song unashamedly distinguishes itself as solely centred around frustration, with Dawson determined to “bite, scratch, and kick” through the punk-inspired verses. ‘Roobosh’ is a testament to NewDad’s dedication to experimenting with genre, whilst still staying true to their preceding album.
If ‘Roobosh’ was the trio’s interpretation of a grungy, punk-esque tune, then they certainly demonstrate their versatility by flipping the coin with ‘Pretty’ as the preceding track. Dawson’s lyricism continues to trudge down the route of admittance, confessing her search for a “heal of faith, haven’t found a better place”. Rather than the gritty and distorted instrumentation used in ‘Roobosh’, NewDad instead opts for the standard indie, cheery riffs that originally popularised them. As a track, ‘Pretty’ desires to be seen as a reinstallation of hope, rather than a resignation to being frustrated.
“I left myself on the island”, Dawson admits in Altar’s ninth track ‘Everything I Wanted’, whilst she flows harmoniously through Fiachra Parslow’s steady drum beat. This track devotes itself to being an ode to Galway; the band uses their typical indie-rock melodies as a medium to express their feelings of homesickness, as well as their conflicting desire to grow as a band. ‘Everything I Wanted’ is arguably one of the most unashamedly confessional tracks on the album, with the band being open with the feeling of being “lost… in the city”. NewDad insist on the album having one main takeaway, and it’s their unrelenting love for their home in Ireland.
Altar‘s final track ‘Something’s Broken’ makes for a very impressive last song, and does a great job at letting the album timeline flow. NewDad use their famous indie-shoegaze melodies and powerful lyrics to leave the listener hopeful, asserting that, despite their nostalgia for their hometown, they hope a new home can be built for them elsewhere.
NewDad use Altar as a powerful method to make their voices heard. Dawson’s haunting vocals and honest lyricism uphold expectations surrounding the shoegaze trio, but O’Dowd and Parslow are truly outstanding in their ability to deliver something different with the instrumentation whilst still maintaining the aesthetic that made the band so popular amongst the indie crowd.
If their debut album didn’t make them a classic amongst shoegaze fans at the moment, NewDad’s upcoming record will solidify them as a staple in the indie scene right now.
Listen to the album here.
