"Open Highway" Is A Fusion Of Simplicity and Complexity

There’s a sense of familiarity and nostalgia between the lines, and a clear distinction of Guided by Voices’ influence on the overall vibe. “Open Highway” is a win for those who dig indie, alternative rock, and lo-fi tunes, as this record is everything in between; it’s almost difficult to figure out which category it fits best in, or if it belongs to any clear one at all.

Victims of the New Math has an in-depth history and upbringing, with their sound coming from childhood favorites. Driven by musical passion, songwriting soon followed, and original works were made.

“ORANGE AND PURPLE SKIES” pretty much establishes everything this album is, from ambience to structure, to style. They weren’t kidding when they credited their specific influences, but there’s something about these songs that you wouldn’t hear anywhere else. The lyrics are followable, adding points for catchiness and retention.

With endearing, effortless, and memorable vocals with the effects on the guitars working well with them, it all comes together as a complete unit, forming the song “APOLOGY IMPLIED”. It is a toned down track that includes wordplay (“Apology implied, apology denied”, and audiences may start to realize that they are in for nine songs that will stick in their heads for days on end.

The title track, “OPEN HIGHWAY”, all point to a sense of freedom and starting anew, from the entire ambience to the melodies and lyrics: “It’s a new beginning, and it’s gonna be alright for me” is somewhat an affirming message to the self. Plus, it almost sounds like a cold breeze running through your face with the car window open, much like the scenery in the album cover. The interlude contains a solo, which expounds that image. On the other hand, “IN THE MORNING” has a similar vibe, sounding just like how it looks. The phrase ‘in the morning’ pertains to a new beginning in itself, just by the act of waking up to a new day,

Up next, “CRESCENT SUN (Album Mix)” is a clever juxtaposition, adding appeal to the entire track. Putting emphasis on the guitar effects (it’s just that great), the riff is catchy, often repetitive and heard along with the chorus. “WE CAN TALK ABOUT IT” has acoustic undertones, with words simple and raw, revealing itself and its intent right away. That’s the edge this record has; it’s easily relatable, hooking listeners up in an instant.

“WHAT WE ALREADY HAVE” has a set of key lines, which are “Everywhere we’re lookin’ for / What we already have / Never really knowin’ what we need”, as it sums up what this song’s message is, perhaps the act of overlooking what we already possess. It goes on about finding something, someone, or anything that we don’t have, with the catch of now knowing what it is exactly. It screams discontentment; ungratefulness, on the other hand… not quite implied, but the disconnect with reality is there. It may also serve as a reminder to appreciate the things within our grasp, and not look for those beyond our reach.

Somber, melancholic, with an acoustic guitar as an accompaniment, “LOVE WILL SURVIVE” is soon enough combined with string-like components, the overall sound fitting the words perfectly. It’s self-explanatory if you think about it, but for context, it claims that love survives and surpasses challenges and hurdles, deeming it a powerful emotion one has and can give away. Last but not the least, “THE GOLDEN AGE” holds some sort of intimacy. It’s a bittersweet melody about missing the ‘golden age’, a term subjective or a specific, well-known point in time that can also vary. It talks about it with longing, but with a claim that we don’t belong in it anyway.

These songs are truly memorable, not to mention unique in terms of sound. Speaking of which, the consistency within it is remarkable. Every chorus makes you sway or bob your head, and you wouldn’t have trouble remembering the words as most of them are conveniently the title as well. If you’re looking for something fun and real, this record is a great contender.