Although she has been a constant member of Veruca Salt, Post started writing a collection of songs during the pandemic that felt more personal and different from the band's previous releases. The songs flowed effortlessly, often coming to her during the transitive state between sleep and consciousness. With the help of producer Matt Drenik, Post carefully curated 11 songs out of three albums' worth of material for "Sleepwalker." She played guitar, bass, and piano herself, collaborating with other musicians to create the rich sonic textures complementing her expansive songwriting. The album serves as a means of processing her experiences as a sleepwalker and delving into her sensitive nature, offering a bold and introspective departure from her band's sound. Post also felt a responsibility to address injustices in relationships, feminism, and politics through her music, and she hopes to connect with her devoted fanbase on a deeper level through her words and melodies.
What Worked
Opening with a pair of rockers, "Queen Of The Pirates" and "Guilty," listeners might be fooled into thinking Sleepwalker will be a continuation of Post's primary band. In reality, the co-frontwoman steps out on her own not only in name but style as well, embracing edgy post-punk on "Killer" while channeling Taylor Swift and Billie Eilish pop on tracks like "All Messed Up" and "Hollywood Hills." From song to song, Post varies up the style and soundscape enough to make everything sound cohesive without repeating herself. Post always had one of the most distinctive voices of the 90s alternative era, and the years haven't diminished it, even when a subtle rasp enters the fray on occasion.
What Didn't Work
Some of the mellowness on the back half can get repetitive, but Post's confessional lyrics and crisp production stop the songs from falling flat.
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