B-Side Guys

Here at bsideguys.com, we’ve always prided ourselves on keeping our finger on the pulse of Colorado’s vibrant music scene. So when a new sound emerges from our own backyard, you can bet we’re all ears. Enter Razorbill, Boulder’s latest indie rock sensation, who are set to ruffle some feathers with their debut album “What’s Not,” dropping on September 27, 2024.

In the shadow of the Flatirons, a new sound is taking flight. Razorbill, Boulder’s latest indie rock sensation, bursts onto the scene with their debut album “What’s Not,” a seven-track rollercoaster of emotion set for release on September 27, 2024. Clocking in at a brisk 22 minutes, this album packs more punch than a double shot of espresso from Pearl Street’s finest café.

Born in the crucible of Billy Shapiro’s bedroom and forged in a frigid storage garage, Razorbill’s origin story reads like a rock and roll fairy tale. The band’s live lineup – Shapiro on vocals and guitar, Josh Carpenter on drums, Jackson Swartzendruber on guitar, Mia Stegner on keys, and Ethan Wilcox on bass – came together through a series of serendipitous encounters that would make even the most jaded music industry veteran crack a smile.

From the opening chords of “What’s Not To Smile About,” it’s clear that Razorbill isn’t here to play it safe. Shapiro’s lyrics are a verbal avalanche, tumbling down the slopes of his psyche with reckless abandon. “So long since anything at all made any little bit of sense,” he sings, channeling the spirit of Rivers Cuomo at his most gloriously neurotic. The track’s infectious chorus, buoyed by keyboard wizardry and thunderous drumming, is an earworm that burrows deep and refuses to let go.

“Ugly Mug” follows, showcasing the band’s knack for crafting melodies that are equal parts saccharine and sardonic. The guitar work really shines here, weaving intricate patterns around Shapiro’s self-deprecating lyrics. It’s a testament to the band’s chemistry that they can make self-loathing sound so damn catchy.

The album’s centerpiece, “I’m So Back,” is a defiant middle finger to adversity. “Knock me out and I’m still in it / We are not the same,” Shapiro declares, his voice dripping with a confidence that belies the band’s rookie status. Wilcox’s bass lines anchor the track, providing a solid foundation for the rest of the band to build upon. It’s the kind of song that demands to be played at maximum volume, preferably while speeding down Highway 36 with the windows down.

“That’s Life” and “All of California” showcase Razorbill’s softer side, proving that they’re not just one-trick ponies. The former is a wistful ballad that wouldn’t sound out of place on a Semisonic deep cut, while the latter paints a vivid picture of West Coast dreams and disappointments.

“Getting Older” may clock in at a brief 1:26, but it packs an emotional wallop that belies its runtime. “Lighten up, cuz I’ve gotta carry the world on my shoulder,” Shapiro laments, capturing the weight of early adulthood in a single, poignant line. It’s a moment of vulnerability that adds depth to the album’s otherwise exuberant tone.

The album closes with “Bring It On,” a rallying cry for the underdog in all of us. “Nothing is written so if you’re around keep kickin’,” Shapiro exhorts, backed by a wall of sound that would make Phil Spector green with envy. It’s a fitting finale for an album that wears its heart on its sleeve and dares you not to sing along.

What sets “What’s Not” apart from the glut of indie rock debuts is its unabashed sincerity. There’s no pretense here, no attempt to be cooler-than-thou. Instead, Razorbill offers up a slice of life as lived by young adults navigating the treacherous waters of self-discovery. The result is an album that feels both timeless and utterly of the moment.

Production-wise, “What’s Not” strikes a perfect balance between polish and rawness. The songs have room to breathe, but there’s an urgency to the performances that speaks to the band’s live chemistry. One can almost smell the sweat and stale beer of a packed house at the Fox Theatre.

For a debut album, “What’s Not” is remarkably assured. Razorbill wears their influences on their sleeve – echoes of Weezer, The Beatles, and Colorado’s own Big Head Todd and the Monsters can be heard throughout – but they’ve managed to synthesize these disparate elements into something uniquely their own.

As Razorbill prepares to take flight in the Colorado music scene, “What’s Not” serves as a thrilling opening salvo. It’s an album that captures the energy and anxiety of youth, filtered through a lens of wry humor and infectious melodies. For fans of indie rock with a heart, soul, and a healthy dose of self-awareness, “What’s Not” is essential listening.

In a musical landscape often dominated by artifice and irony, Razorbill’s earnest approach is a breath of fresh mountain air. With “What’s Not,” they’ve not only announced their arrival on the Boulder music scene – they’ve staked their claim as one of Colorado’s most promising new bands. The only question that remains is: what’s next for this fledgling flock? Whatever it is, you can bet it’ll be worth the wait.