High.’s debut EP, Come Back Down, which is set for release on January 24, 2025, via Kanine Records, is a swirling eight-track shoegaze triumph that captures the raw, unvarnished spirit of New Jersey’s DIY scene while propelling the genre into modern territory. With vocalist and guitarist Christian Castan and bassist and vocalist Bridget Bakie at the creative helm, the band delivers a heartfelt and immersive sonic experience, blending churning guitars, emotive basslines, and introspective lyricism into a cohesive whole.
The opening track “In A Hole” sets the tone with a cascade of shimmering guitars and reverb-soaked vocals that feel both expansive and intimate. Castan’s delivery carries a sense of yearning that permeates the entire EP, while Bakie’s bass provides a steady yet evocative foundation. “Catcher” follows with a hazy urgency, showcasing drummer Jack Miller’s dynamic range as he guides the song through its dreamlike crescendos.
The EP's third track, “George,” stands out as one of the most emotionally charged tracks, weaving Castan’s poignant lyrics with atmospheric instrumentation that’s both nostalgic and forward-looking. Meanwhile, “Flowers” offers a more delicate interlude, with soft vocal harmonies that highlight the chemistry between Castan and Bakie.
Tracks like “Dead” and “Painbox” dive deeper into a somewhat softer, but darker sonic territory, recalling the influence of acts like Nothing and DIIV while still carving out High.’s distinct voice. The layers of distortion and feedback create an enveloping wall of sound, but it’s the restraint in their arrangements that makes the chaos feel purposeful.
The EP's second last track, “Lifetime,” shifts gears with a brighter, almost anthemic tone, celebrating themes of friendship and resilience amid life’s uncertainties. Bakie’s bassline takes center stage here, its melodic counterpoint perfectly complementing Zavala’s textured guitar work. Whereas, the closing track, “Bomber,” is a cathartic finale, balancing moments of delicate vulnerability with explosive bursts of sound that leave a lasting impression.
The album’s production, spearheaded by Matthew Molnar (Sunflower Bean, Dead Nation) and polished by Jeff Ziegler (The War On Drugs, Kurt Vile), maintains an authentic, raw edge without sacrificing clarity. Recorded in a blend of intimate studios from Greenpoint to Philly, the record feels deeply rooted in its origins while reaching for something universal. Each track is meticulously crafted, yet there’s an intentional looseness that keeps the songs grounded in their DIY ethos. Come Back Down is an impressive debut that feels like a love letter to shoegaze’s heyday and a promise of its enduring relevance. High. captures the highs and lows of youth, friendship, and introspection with sincerity and artistry. For fans of the genre, the album is both a comfort and a revelation—proof that shoegaze is alive, well, and evolving.
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