Eric Grandy spent part of his Block Party Saturday watching Stephanie's set, curious to hear whether the band's sound had changed since they recorded their debut full-length with Erik Blood: "Previously, I've found their songs deft and hooky, all muscular drums and high bass lines weaving against guitar and keys, but I've struggled with frontman Wil Adams' reverb-y vocals. Sometimes the effect seems used to mask slightly strained singing, but today the vocals were mostly tuneful and restrained, and the few growls and whoops, on 'Ice Cream' for instance, sounded solid and well placed. Stoked to hear some new recordings now."
Stephanie's Blood-produced One Glove LP won't be out til September (on bassist Ian Judd and guitarist Andrew McKibben's own Couple Skate Records), but they've released the record's first single,
Stephanie likes to call their music "swirled out maximalism." There is a lot going on in "Cell 44"; the track churns with skittering drums, discordant guitars, and sudden tempo changes, but the discernible, danceable hooks break through the noise via keyboard melody and Wil Adams' operatic vocals (which have taken on, as Eric says, a noticeable new element of restraint). An album's worth of this stuff will make for a heady, very maximal effect.