When a band names their project after an instrument, you assume it’s tongue-in-cheek. But Guitar, from Portland, OR, take this a step further – naming themselves after the most prevalent instrument in their music, and choosing a name bound to be difficult to search for online. They embrace the anonymity and ubiquity of their name as a kind of artistic statement, daring listeners to find them not through algorithms but through word of mouth and the unmistakable texture of their sound.
Guitar is the brainchild of Saia Kuli, who has been developing his sound for over a decade in the Portland music scene. After a few iterations of projects and years spent playing in other bands, Guitar was born as the culmination of Kuli’s work. We’re Headed to the Lake reflects both Portland’s DIY community and Kuli’s own evolution as a songwriter unafraid to let vulnerability cut through the noise. Their new album brings their previous rolodex of noise, post-punk, and DIY recording to a new level – trading the lo-fi grit of their earlier work for a different kind of roughness. This time, the grit is channeled into the songwriting and vocals, with more emotion and just enough polish to trim the jagged edges without dulling their bite.
The album opens with “A+ for the Rotting Team,” a track that marries jangle pop brightness with alternative rock urgency, brimming with raw emotion and setting the tone for what follows. From there, “Chance to Win” shifts gears, featuring the bright, feminine vocals of Kuli’s wife. It’s a softer reprieve from the noise, a song about the thrill of opportunity and the nervous electricity of trying not to fumble it. That sense of vulnerability carries into “Cornerland,” where Kuli’s vocals strain with emotion, offering one of many intimate moments on the record.
The middle stretch of the album showcases Guitar’s restless experimentation. “Ha” dips into a quick, 30-second-spell of a post-punk anthem, while “The Game Has Changed” begins as a laid-back, reggae-inspired tune before unraveling into a noisy guitar-riff-laden wall of sound. It’s a reminder that Guitar thrives on unpredictability. Then comes “Every Day Without Fail,” the record’s most explosive cut, a burst of emo pop-punk complete with a singalong chorus and a belted-out breakdown that feels tailor-made for a sweaty live show.
After that intensity, “Office Clots” offers a quieter, indie-leaning interlude, giving the listener a moment to breathe. But Guitar never lingers too long in one mood. The following track “Pizza for Everyone” injects humor and spunk with vocal scatting that adds personality to the record, and “Pinwheel” follows this with subtle retro-tinged guitar tones, a gentle exhale after the storm.
The album’s final stretch keeps the energy unpredictable while tying the record together. “A Toast to Tovarishch” surges forward with a frantic rush, Kuli’s vocals tumbling over a relentless guitar line that never lets up. “The Chicks Just Showed Up” follows with a playful, spunky edge – a tongue-in-cheek anthem about strong women arriving with free coffee. Finally, “Counting on a Blowout” closes the album on a commanding note, its striking guitar riffs seizing control of the track and refusing to let go. It feels less both a conclusion and a challenge, daring the listener to carry the record’s raw energy beyond its runtime.
We’re Headed to the Lake is a emotional journey that captures the personal evolution of Saia Kuli as an artist, in passion and rawness. Guitar may have chosen the most generic name possible, but their sound is anything but. By embracing vulnerability, unpredictability, and a refusal to sand down their edges, they’ve created an identifying album that demands to be discovered the old-fashioned way: through connection, conversation, and the undeniable pull of music that feels alive.
Leave a Reply