Good Kid Culminates Their Trilogy With the Adventurous ‘Good Kid 3’
Photo: Evie Maynes
Sometimes a band just nails their opening steps—their sound, the vibe, the full sonic construct of who they are, and after that it's all about building momentum. Toronto-based five-piece Good Kid settled into their J-Rock sound immediately, a healthy collision of indie rock, anime, optimism, multi-media programming, and emotions that found a bountiful fanbase from their dual approach of amazing online and IRL shows. Their sound, right from their initial EP onwards has been a true collaboration of similarly dissimilar individuals, each bringing their respective passions and pains to each record. Now on their third EP of a trilogy, Good Kid 3 sees Good Kid as vociferous and varied as ever, pulsing and pumping through a host of situationships, anxieties, and observations.
Comprised of lead vocalist Nick Frosst, drummer Jon Kereliuk, bassist Michael Kozakov, and guitarists David Wood and Jacob Tsafatinos, the band has a high-energy, ambulate the audience sound, eschewing year-to-year trends. The interaction with their fanbase, specifically the gamer community, has drawn attention to the band and has led to a host of innovative engagement opportunities from AR games, discord sessions, and allowing some songs to be used by streamers free of legal entanglement.
The hard drive of songs the band pulls from on Good Kid 3 includes one of their oldest songs, but it is delivered as fresh as ever, a proper dose of poetics, tempo changes, and pacing that has the band displaying a healthy confidence that goes comes with culminating a trilogy. Popping off with the threadbare, minimalist guitar sound over zesty story-riddled lyrics in "No Time To Explain," the lead single proves Good Kid is back at it full force. Followed by the edgy but nuanced "Mimi’s Delivery Service," the band percolates our a busy series of guitar riffs and runs, dropping pop culture references wrapped in relationship woes and flows.
In "Osmosis" a slightly Cali flavor is added to their typical indie guitar sound is heard, with proper beat-catching pauses and spacings that will make many retro 2000s indie fans happy. In "First Rate Town" the formula for weaving guitar sounds and punk pop rhythms finds a healthy balance over humorous, counter-compliant lyrics, a funny guide to city civics for those too cool types post-heartbreak. The EP ends with ‘Madeline,’ which is this writer's personal favorite, a down-paced, lullaby guitar-driven ballad that really showcases the band's songwriting chops.
The cohesiveness of Good Kid is undeniable, and their remarkable capability to be both true to their fans and themselves has all the hallmarks of a band that snowballs into stardom, building their own gravity as they go.
Listen to Good Kid 3 below:
