Wednesday have been on a steady upward trajectory that has thus far culminated in 2023’s Rat Saw God, which is easily one of the best records of the decade—a Southern gothic record that nods to Drive-By Truckers in the lyrics and Jason Molina in the sonics. Simultaneously, guitarist MJ Lenderman‘s Manning Fireworks, released about a year ago, made his star rise significantly. Although he will still record with the band, he will no longer be touring with them.
These two breakthroughs have the anticipation for Bleeds, Wednesday‘s latest, at levels that are near impossible to live up to. Still, the band have delivered yet another remarkable record that showcases Karly Hartzmann’s gift for storytelling and wry, dark humor, as well as a seemingly effortless mix of country, indie rock, and shoegaze that is utterly irresistible. If the group felt any pressure to match or top Rat Saw God, it’s evident nowhere across these 12 songs. If anything, Wednesday sound more confident than ever, operating at the next peak of their powers.
Musically, this is the group’s most adventurous set to date. Where Twin Plagues melded those shoegaze and alt country to Hartzmann’s lyrical prowess, and Rat Saw God expanded their sound to include quiet, contemplative moments like “What’s So Funny” and the raging, epic set-closer “Bull Believer”, Bleeds’ stretches are more succinct and punchy, but more adventurous, by turns more wistful and more open-hearted, but without sacrificing any of Wednesday’s most potent calling cards. As an obsessed Rat Saw God listener, I couldn’t be more excited about the way the band have grown on Bleeds.
Opener “Reality TV Argument Bleeds” builds up to a massive, lurching riff. Those guitars back down a little for Hartzmann’s verses, but by the end of the song, she is holding her own against the noise. Any listeners taken aback by “Elderberry Wine”, the subdued, country-tinged lead single from Bleeds, concerned that Wednesday is going soft, will be assured by the track’s end that the group’s ferocity is intact. Next up, “Townies” is just a lovely, ragged indie pop gem that starts quiet and unassuming, but builds to a huge finish.
“Wound Up Here (By Holdin’ On)” has been making regular appearances in Wednesday’s live sets for at least a year, and it is one of the finest examples of how they are so adept at keeping their signature sound fresh. Hartzmann’s singing about pit bull puppies pissing off balconies, and there is a big, wailing riff that anchors the song. However, a new shade of melancholy in her vocals takes the song to even greater heights, along with that supremely satisfying guitar toward the end of the track. The riff recalls the heyday of 1990s Matador Records, and you wouldn’t be wrong to call this song a heavier take on a gem from the wildly underappreciated Mary Timony project Helium.
The aforementioned “Elderberry Wine” goes down even better in the context of the record, providing a sonic palate cleanse. It’s one of Hartzmann’s most open performances, too, and the line “I find comfort that angels don’t give a damn” is one for her highlight reel in a career of memorable, evocative lines. On the subject of instantly memorable lines, the rambling “Phish Pepsi” wins best line on the record: “We watched a Phish concert and Human Centipede / Two things I now wish I’d never seen.” This song also adds shades to Wednesday’s signature sound, with its loose, almost whimsical ramble.
“Candy Breath” sounds closest to what one might expect from the band’s next release, with its mix of menace in the verse and a loud, irresistible chorus akin to earlier standouts like “Bath County”. Hartzmann’s matter-of-fact, unsettling imagery and gallows humor have always been one of Wednesday’s greatest draws, and she provides much of that here. However, the level up occurs in the explorations of sadness and heartbreak, which are more vulnerable and real. If there is a more compelling lead singer and lyricist today, I look forward to discovering them.
However, it’s not just a quieter, more reflective Wednesday on Bleeds. “Wasp” is a guttural, noisy punk track with an appropriately short run time. It is an unexpected highlight. Wednesday’s talent for effortlessly weaving country and classic indie rock sounds shines through on “Bitter Everyday”, another track that is closest to the group’s established playbook. “Carolina Murder Suicide” is an eerily subdued track with a current of noise running through its black heart. “Gary’s II” closes the record on a lighter note, with a story song presumably about the band’s deceased friend, Gary King, who was also eulogized on Colin Miller’s masterful Losin’ earlier this year.
Bleeds nails the follow-up to the beloved album challenge. Its songs represent a calibrated extension of Wednesday’s sound, playing to their strengths. Hartzmann remains one of the most compelling vocalists and storytellers in music, and the rest of the band have never sounded better. Wednesday emerged so fully formed, it might have been difficult not to burn out or become repetitive, but Bleeds is another monumental statement from one of the most exciting bands working today, and certainly at the top of the shortlist of best records of the year.