I always enjoy coming across albums made not just by young, up-and-coming twenty-somethings, but also by seasoned veterans who’ve been shaping the scene for decades. That’s exactly the case with Manic Waves, the new record by Billy Peake, an Ohio musician who, as he puts it himself, “spent 20 years in two critically respected bands that your normie cousin never heard of.” Peake may not take himself too seriously, but there’s nothing laughable about this record – it’s genuinely excellent.
Manic Waves features twelve tracks, and the opener, “Go Back to Where You Came From,” immediately shows where its strength lies – from the meticulous production (I love the guitar tone and the distorted, almost eerie vocal effects) to uncompromising songwriting. The track doesn’t even reach two minutes, but its emotional refrain, “Go back to where you came from,” grabs you instantly and doesn’t let go.
The following title track, “Manic Waves,” expands the sonic palette with trumpets, giving the album a more indie-leaning vibe, while “Granddad Was a Demon” stands out with its distorted vocals and darker, heavier mood – it reminded me of the more experimental side of Modest Mouse, especially in how it plays with vocal textures.
Two highlights from the first half are the balladic “Little Glow” – built on a disco-like beat and a melancholic yet infectious melody that rides on a simple, memorable riff – and “Annie You’re a Lightning Bolt,” a slower piece recalling the softer side of Drive-By Truckers. The guest backing vocals work beautifully here, and this mellow, emotional register suits Peake perfectly. The melodies are simply gorgeous.
The second half picks the pace back up with “Big Energy,” which lives up to its name – driving, dynamic, and likely an absolute powerhouse live. “Maybe We Shouldn’t” drapes itself in layers of vocal effects and a deliberately weighty riff that recalls the newer sound of Sleater-Kinney.
Near the end, Peake returns to the introspective tone with “Age of Dumb,” led by acoustic guitar, before moving into the raw and impassioned “How Can You Sleep” – bursting with energy yet carried by a melodic chorus that once again brings Drive-By Truckers to mind. The album closes with “There’s Not a Punk in the Universe,” a track colored by lively trumpet lines that add a final, vibrant touch.
Peake worked with musicians who have collaborated with David Bowie, St. Vincent, and The Breeders, and you can absolutely hear that level of craftsmanship in the production – it’s impeccable. In an era when most listeners gravitate toward singles, Manic Waves feels like a bold, full-bodied statement. Those who give it the time it deserves will be rewarded with an emotional, well-crafted, and highly memorable listening experience.
This album was discovered via Submit Hub
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