Vancouver’s Peach Pit are one of those rare, self-aware bands that take criticism in stride. Early in their career, after they performed at a Battle of the Bands, they received rather negative feedback from a judge, something to the effect of “generic indie rock band”. So they saw it fitting to name their self-released debut Being So Normal. Columbia Records must have thought they were something more than “normal”, as they signed the group and helped launch their career. Peach Pit went on to release two solid albums under the imprint.
Now, on their fourth release called Magpie, the band clearly refuse to compromise. They remain defined by their guitar-driven indie rock, soft-spoken vocals, and melancholic lyrics. While these elements may not scream innovation, Peach Pit add a subtle sophistication to the more apt descriptor slacker rock. With intricate chord progressions, complex melodies, and impressive guitar work, they stand apart from many indie rock bands that recycle trends.
Peach Pit feature singer and rhythm guitarist Neil Smith, lead guitarist Christopher Vanderkooy, bassist Peter Wilton, and drummer Mikey Pascuzzi, with multi-instrumentalist Dougal Bain McLean on synth, guitar, and fiddle. They formed in 2014 among high school friends and released a debut EP in 2016. Their fan base expanded internationally after a Filipino influencer shared their music. Since then, they’ve performed alongside major acts like Mac DeMarco.
Magpie opens with “Every Little Thing”, an upbeat romper with a chorus-laden guitar that sets the tone for the album. Smith’s vocals carry a laid-back, almost slacker quality, floating effortlessly between his natural tone and falsetto. Peach Pit play with rhythm, deliberately dropping a beat during the guitar lead, which adds a playful, quirky element. “Yaasmina” sways at a slower tempo, building momentum toward a more driving chorus. Vanderkooy’s fiery guitar solo at the song’s climax stands out, full of overdriven energy and raw intensity. The guitar work throughout Magpie is consistently impressive, with Vanderkooy’s solos and countermelodies helping to define the band’s unique sound.
One of the most striking tracks is “Am I Your Girl”, which feels somewhat out of place in its more straightforward structure among the more harmonically adventurous tunes. While their chord progressions are usually complex and unique, with borrowed and altered chords, this song is relatively straightforward. “Am I Your Girl” revolves around a slow, brooding modal vamp oddly reminiscent of vaporwave, a genre typically produced with digital instruments. Here, Peach Pit’s organic instrumentation—electric bass and drums—gives it a more grounded feel.
Other stand-out numbers are “Outta Here” and the title track, “Magpie”. The former track opens with fingerpicking on acoustic guitar but develops into a slick groove. The bass and drums thump along, and the violin comes in at the bridge—a nice subtle touch. Later, the subtle key change and flashy guitar solo give the song some flare. Meanwhile, “Magpie”, starts with a darker, driving sound, but the chorus unexpectedly lifts in brightness before quickly returning to the minor key. “Wax & Wan” stays in this mood but to a lesser degree, bringing forth a waltzing meter that drunkenly sways.
The songs on Magpie are far from mediocre with each track having its own little idiosyncrasies. They are built around sophisticated chord progressions and unique vocal and guitar melodies—attributes that defy cliche. At first, some chords can feel unexpected or even a little overwhelming, especially when they sound alien to your ear. But they unearth new possibilities, which they gladly take. Calling Peach Pit generic negates the subtle intricacies and the thoughtfulness that goes into their songcraft. Furthermore, everything comes to a head for an enjoyable listen the more you revisit these charming songs.