Now It’s Overhead: Dark Night Daybreak

With Rilo Kiley’s exodus in pursuit of the iconic rock mainstream and Conor Oberst’s subsequent reposition on the East Coast, it seems Saddle Creek Records isn’t the indie rock powerhouse it was only a few short years ago. Barring a full reconnaissance of the fall out – whether it be the hiatus of Cursive, the emergence of other prevailing indie rock labels, or even an abandonment of new folk – the fervor and the frenzy of said record label has most certainly been subdued.

How then does that affect future releases from the ever-growing Saddle Creek roster? Well, so far we’ve seen lackluster sophomore and post-sophomore efforts from the likes of Mayday and Broken Spindles, not to mention blasé, none-too-impressive debuts from Criteria and Orenda Fink (Maria Taylor being the singular diamond-in-the-rough). So what of Now It’s Overhead?

On their third LP, entitled Dark Light Daybreak, Now It’s Overhead coalesce in the band’s typical form of layered vocals, with a minimalist approach to musical arrangement. Still a bit tragic but with an ounce of redemption, the band finds themselves repeating themselves – this time with sparse choruses, less meaty hooks and, overall, a nominal accessibility.

It just doesn’t have that oomph, lacking that pizzazz one might expect from the band that brought us “Wonderful Scar” or “Wait in Line.” Thus it is fated, as many other recent Saddle Creek entries, to take its place by the wayside.

- Bill Wallace
Now It’s Overhead (Saddle Creek)