Indra Aziz
Ecca Vandal’s much-anticipated sophomore album, ‘LOOKING FOR PEOPLE TO UNFOLLOW,’ has arrived, marking a significant evolution for the genre-bending artist. Following her acclaimed 2017 eponymous debut, which cemented her reputation as a boundary-pushing force, Vandal has spent the intervening years in a period of deliberate introspection and creative incubation. This immersive process, which saw her step away from the public eye for four years, has culminated in a sprawling 17-track collection that delves into deeply personal narratives while engaging with broader sociopolitical themes.
The Genesis of a Sonic Metamorphosis
The journey to ‘LOOKING FOR PEOPLE TO UNFOLLOW’ began in earnest after the success of her debut album. Vandal, known for her Sri Lankan heritage and South African roots, has always defied easy categorization, embracing an eclectic sound that draws from a multitude of influences. This inherent diversity in her musical palette is amplified on her latest offering. In an era where artists often feel pressured to maintain a constant online presence, Vandal’s decision to disconnect was a strategic move to foster an environment conducive to deep creative work.
Collaborating once again with producer and long-time creative partner Richie Buxton, Vandal retreated to what was once Buxton’s childhood bedroom, transforming it into a sanctuary for sonic experimentation. This intimate setting undoubtedly contributed to the album’s intensely personal yet universally resonant quality. Vandal herself has articulated the profound impact of this immersive process, stating in a press release, "I find empowerment in being loud and noisy especially as a woman in this global moment who grew up in a culture that told me I could not be those things." This statement underscores the album’s core thematic concerns: reclaiming agency and asserting one’s voice in a world that often seeks to silence or diminish it.
A Dualistic Soundscape: From Raw Power to Vulnerable Reflection
‘LOOKING FOR PEOPLE TO UNFOLLOW’ can be broadly divided into two distinct, yet complementary, halves. The initial phase of the album is characterized by an immediate and often confrontational energy. Opening track “EYES SHUT” immediately sets a tone of defiance, with sharp guitars and driving drums evoking the urgency of an old MTV promo. Lyrically, Vandal targets the complacency and detachment of the privileged and wealthy, declaring, "They’re playing God / And saying nothing’s wrong." This is a direct challenge to those who hold power but remain oblivious or indifferent to societal inequalities.
The album’s lead single, “SORRY! CRASH!”, carries this momentum forward with an unrelenting percussive force that draws comparisons to the visceral energy of bands like Idles, particularly their track "War." Vandal’s command, "Light my dread up in neon, / I gotta get my name all up in lights," encapsulates a powerful ambition that navigates the precarious space between chaos and controlled self-expression. This section of the album is a bold declaration of intent, showcasing Vandal’s capacity for raw, unadulterated sonic power.
As the album progresses, Vandal’s deep roots in skater culture become increasingly apparent. Tracks like the viral hit “CRUISING TO SELF SOOTHE” pay explicit homage to the subculture through both its sonic textures and visual aesthetics. The pop-punk leanings of “BLEED BUT NEVER DIE” further highlight this connection, with each song possessing an infectious energy perfect for accompanying dynamic movement. Beyond these overt influences, Vandal’s foundational training in jazz music shines through, evident in her nuanced melodic sensibilities and her innate ability to find the perfect groove within each track, a testament to her sophisticated musical upbringing.
The Shift Towards Introspection and Connection
The album experiences a noticeable shift approximately midway through with the introduction of “OKAY NOT TO BE OKAY.” This track marks the transition into the album’s second half, characterized by a more introspective and emotionally vulnerable tone. Driven by synthesizers, this brief yet poignant piece articulates a profound sense of isolation and a yearning for connection: "Screaming hello / To find my echo / ‘Cos we’re still chasing / To feel." This moment of vulnerability serves as a crucial counterpoint to the album’s earlier assertiveness, demonstrating Vandal’s range and her willingness to explore the complexities of the human emotional landscape.
Following this introspective turn, the album dives into the immersive world of trip-hop with “THEN THERE’S ONE.” Despite its concise duration of just over a minute, this track is an undeniable earworm, leaving listeners wanting more. Its infectious rhythm and captivating atmosphere make it a standout moment, showcasing Vandal’s adeptness at crafting memorable and impactful short-form pieces.
“BLEACH” further solidifies the album’s eclectic blend, seamlessly merging hip-hop, punk, and pop elements into a cohesive whole. The dance-driven beats continue with “DO IT ANYWAY,” a playfully upbeat track that narrates a story of embracing spontaneity and casting aside caution, regardless of the outcome. This section of the album emphasizes Vandal’s embrace of both personal liberation and societal commentary, interwoven with infectious musicality.
Politically Charged Closures and Enduring Statements
The album culminates with two powerful, politically charged anthems that leave an indelible mark. “GHOSTS” directly confronts the insidious nature of historical whitewashing and the hollowness of unfulfilled promises. Vandal reclaims power by rejecting these narratives, boldly declaring, "We’ll tear down the statues made of stone, / We’re living facts that brown and black is gold." This track is a potent assertion of truth and a demand for recognition of marginalized histories and identities. It is a clear message to those in positions of power that their attempts to control narratives will be met with fierce resistance and a demand for authentic representation.
The final track, “CAME HERE FOR THE LOOT,” serves as a comprehensive dismantling of oppressive systems, false idols, and societal greed. Vandal directly challenges conspiracy theories and exploitative practices, employing a nu-metal blend of hip-hop melodies and abrasive guitars. The album concludes with a slow, melodic unwind, punctuated by Vandal’s final, resolute words: "I won’t wait." This closing statement is a powerful testament to her impatience with stagnation and her commitment to driving change.
The Broader Impact and Critical Reception
‘LOOKING FOR PEOPLE TO UNFOLLOW’ stands as a testament to Ecca Vandal’s artistic growth and her unwavering commitment to authenticity. Her ability to navigate disparate musical genres while maintaining a cohesive thematic throughline is remarkable. The album’s lyrical depth, addressing issues of identity, politics, and personal resilience, resonates deeply in contemporary society. Vandal’s fearless approach to confronting societal injustices, coupled with her innovative sonic experimentation, positions her as a vital voice in the current musical landscape.
The album’s critical reception has been overwhelmingly positive, with many praising its ambitious scope and Vandal’s confident execution. The reviewer’s assessment of "8/10" suggests a highly commendable work that, while perhaps not flawless, achieves a significant artistic statement. The album’s intricate layering of sounds and its powerful lyrical narratives invite repeated listens, revealing new nuances with each engagement.
Timeline of Ecca Vandal’s ‘LOOKING FOR PEOPLE TO UNFOLLOW’ Journey:
- 2017: Ecca Vandal releases her self-titled debut album, establishing her as a significant force in the music industry.
- Post-2017: Vandal deliberately withdraws from public life and the digital sphere for an extended period of four years.
- During the Hiatus: Vandal collaborates with producer Richie Buxton in a secluded, home-based studio environment, laying the groundwork for her sophomore album.
- Album Completion: The intensive creative process culminates in the recording of ‘LOOKING FOR PEOPLE TO UNFOLLOW.’
- Album Release: ‘LOOKING FOR PEOPLE TO UNFOLLOW’ is officially released, marking her return to the music scene with a mature and impactful body of work.
The album’s success is not merely a reflection of Vandal’s individual talent but also speaks to a broader cultural moment where artists are increasingly using their platforms to address critical social and political issues. ‘LOOKING FOR PEOPLE TO UNFOLLOW’ is more than just a collection of songs; it is a declaration of independence, a call to action, and a powerful testament to the enduring strength of the human spirit in the face of adversity. Its eclectic nature ensures broad appeal, while its sharp lyrical content ensures it will spark conversation and contemplation long after the final note fades.
