Ida – Will You Find Me

Ida
Will You Find Me

Oh, this is nice. See, every day when I get to work, I like to put some music on that’s quiet and non-stressful. Generally, it’s something instrumental like Tristeza, but Ida’s newest full-length is perfect for that use. See, this album is chock-full of about the softest and sweetest indie pop numbers you’re going to hear all year. It flows, slow and somber and simple, until an hour has passed and you don’t even know it’s gone. Unfortunately, most of the time you don’t even know what you heard.
Ida are one of those bands that everyone seems to talk about, and that’s good to hear, because more people should get into bands that play lovely, sweet music. With male and female vocals, plenty of strings and woodwinds, and acoustic guitar, Ida is downright beautiful. If played with a purely pop sensibility, it would likely be the most amazing stuff of the year. But as it is, the band takes a slow-core approach, similar to bands like Low and Idaho, and the songs tend to languish in their own simple beauty. Meaning, it’s nice at the time, but the songs are virtually indistinguishable after the fact without paying close attention.
“Down on Your Back” starts off almost as an a capella track, with Daniel Littleton and Elizabeth Mitchell singing together accompanied only by the bearest of acoustic guitar. Their voices mesh effortlessly, like the most lovely of Low’s songs. There’s a lot of that style of song, where the band members put the focus on their voices and have the soft piano, guitar and strings deep in the background. “This Water” does it, and so does ” .” “Maybelle” is my favorite song, mostly because of the Red House Painters style acoustic guitar and lovely pop structure, one of the few songs that don’t fall under the slow-core spell. “The Radiator” has only the female vocals and some pretty keys and synthesizers in the background that really create a mood for this song. There’s even some throwback pop songs, using keyboards and light brush-drums on songs like “Shrug” and “Shotgun.” “Man in Mind” shows off the female vocals, accompanied only by piano for an interesting, almost Kristen Hersch effect. “Past the Past,” on the other hand, shows off the male vocals and is probably the most rocking track on the album. “Triptych” sounds almost like a folk song, with the emphasis on the acoustic guitar and a more folk style of singing. And the band finishes strongly with the absolutely gorgeous and sweetly somber “Don’t Get Sad.”
Ida was another band that flirted with major labels and found their way back to the indies. Embraced by indie pop lovers, this band seemingly can do no wrong, at least according to the raves their albums always provoke. I, too, find myself falling in love with Ida a bit while this sweet, soft music is playing. But when it’s done, I breathe a sigh, rouse myself with some caffeine, and go about my day. It doesn’t stick with me like the best bands do, but it does provide a delightful diversion.