Three songs into Haim’s sharpest album yet, Danielle is behind the wheel in her beloved Los Angeles with a Joni Mitchell classic on the stereo, “screaming every word to ‘Both Sides Now.’” How lost must one feel to shout “I really don’t know life at all” alone in the car first thing in the morning? That’s the precise kind of biting honesty that Alana, Este, and Danielle brilliantly amplify on Women in Music Pt. The old world that Dogleg wrote about sucks in its own way, but it’s the world they deserve. You air-drum the little hitch in “Fox” again and again across your steering wheel you throw your chest forward in your home-office at all the perfectly executed half-time breakdowns you do isometric lunges while Stoitsiadis sings about disintegrating. We’re left to sit alone and imagine what these songs should be doing. The fact that Melee conjures a year so different from the one we got is part of why it leaves such a mark: The histrionics of emo aren’t just dramatic, they’re now science fiction. Singer-songwriter Alex Stoitsiadis was supposed to be hollering his hooks over melodic post-hardcore guitars in roiling 250-cap clubs, and the scenes of heartbreak he described were supposed to be playing out for listeners in real life. A band’s impact shouldn’t be hypothetical, but here’s Dogleg, the debutants of Michigan emo, whose breakout year mostly took place in the imagination.
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