Alvvays Turn Up the Fuzz and Still Land the Hooks on ‘Blue Rev’

Alvvays’ third album, Blue Rev, is a wall of noise with a pop heart buried inside it. The Toronto band took their bright, jangly indie-pop sound and ran it through a thick layer of distortion and reverb, making something denser and messier than anything they have done before. The record is a deliberate push past their earlier comfort zone, swapping clean hooks for a chaotic, layered roar that still somehow lands as catchy. It is a big, loud, ambitious swing, and it mostly connects.

Opening With “Pharmacist”

The record hits hard right out of the gate. “Pharmacist” opens with a fast, driving guitar line that feels like the band is testing how much noise they can get away with. It is a statement of intent: this is not the same Alvvays that made the breezier records of their past. The track barrels forward with barely a pause for breath, and the vocals cut through the fuzz with a sharp, clear melody. It is a confident opener that sets the tone for everything that follows.

“Easy on Your Own?” slows things down just slightly, but the murky production keeps the mood tense. The track leans into the band’s melancholic side, with lyrics about loneliness and self-reliance over a thick bed of guitars. It is one of the more emotionally direct moments on the record, and it works because the band does not let the sentiment get swallowed by the noise. The melody is strong enough to carry the weight.

The Middle Stretch

“After the Earthquake” is the first real single-worthy moment, a mid-tempo track that builds from a steady pulse into a soaring chorus. The lyrics touch on disaster and recovery, but the music feels more like a celebration of survival than a lament. It is a standout, with a hook that sticks after one listen.

“Tom Verlaine” is a clear nod to the band’s influences. The track is jangly and restless, with a guitar part that feels like a tribute to the kind of angular, artful playing the title evokes. It is not the catchiest song here, but it shows off the band’s range and their willingness to wear their influences on their sleeve.

“Pressed” is a short, sharp burst of energy, clocking in at just over two minutes. It is the kind of track that could have been a throwaway, but the band packs it with enough hooks to make it feel essential. “Many Mirrors” follows with a more spacious, dreamy sound, letting the guitars ring out in long, shimmering waves. It is one of the more delicate moments on the record, and it provides a nice contrast to the louder tracks around it.

The Back Half

“Very Online Guy” is a wry, funny critique of internet culture, with deadpan lines delivered over a punchy, upbeat backing. It is one of the more lyrically sharp tracks on the record, and the band’s sense of humor comes through clearly. “Velveteen” is moodier, with a slower, more atmospheric build that feels like the band is exploring the edges of their sound. It is not a highlight, but it adds texture to the record’s middle section.

“Tile by Tile” picks the pace back up with a driving rhythm and a chorus that feels like it could fill a room. It is one of the more straightforward pop moments on the back half, and it is all the better for it. “Pomeranian Spinster” is a quirky title for a track that is surprisingly tender, with a gentle melody that cuts through the production’s haze.

Closing With “Belinda Says”

“Belinda Says” is the track that has been singled out by critics, and it is easy to see why. It is the most immediate song on the record, with a big, anthemic chorus that feels like a culmination of everything the band has been building toward. It is the emotional peak of the album, and it lands.

“Bored in Bristol” is a slower, more reflective track that lets the band’s melancholy side take over. It is not a standout, but it sets the stage for what follows. “Lottery Noises” is a late-album burst of controlled chaos, with layers of guitars and vocals colliding in a way that feels both messy and deliberate. The record then closes with “Fourth Figure,” a brief instrumental coda that lets the haze settle.

Ranking The Highlights

1. “Pharmacist” — the mission statement, loud and fast
2. “Belinda Says” — the best hook on the record
3. “After the Earthquake” — the most emotionally resonant track
4. “Easy on Your Own?” — a strong early highlight
5. “Many Mirrors” — a welcome moment of calm

The record is not perfect. Some of the middle tracks, like “Velveteen” and “Bored in Bristol,” blur together under all that distortion, and the production can occasionally bury the melodies that made the band’s earlier work so immediate. But the album’s strengths far outweigh its weaknesses.

Blue Rev is a bold, confident record that proves Alvvays can evolve without losing what made them special. The band has traded some of their earlier clarity for a thicker, more complex sound, and the gamble pays off more often than not. It is a dense, rewarding listen that gets better with each pass.

8.6/10.

album review · Alvvays · Blue Rev · indie pop · shoegaze