REVIEW: Medejin Dive Deep on Debut Album “The Garden”

Meh-deh-zhEEn!

Now that that’s out of the way, let’s talk about this striking debut LP. It’s hard to nail down exactly what kind of music Medejin plays (but I can feebly try: gothic pop? alt-synthwave? mood-rock?), but you can absolutely feel what it’s giving when it’s in your ears. One would think that all those minor chords and cool-toned textures would instill an oppressively brooding aura; instead, crystalline guitar textures and the effects-swathed voice of Jenn Taranto make that atmosphere feel featherweight, permeable by light. Call it fog instead of gloom - or, maybe it’s like The Sundays but right as the sun is setting, with the workweek right around the corner.

Like some of the sea creatures gracing its cover, The Garden moves at a measured, almost meditative pace. If you’re looking for sonic variety, you won’t find it here - the band has an extremely distinct style and they take the entirety of the runtime exploring every corner of it. That leads us to the grave salvo of opening number “Shell,” the dreamy jangle of “Kill The Company,” the gorgeous layering Taranto’s and Rebecca Gutterman’s guitars of “Interlude,” the cavernous rock of “Our Apartment,” and Matthew Cross’ cascading drums on “World’s Fair.” The album’s centerpiece is its title track, which pairs mechanical synths with complex vocal harmonies and a guitar line that drifts ambiently around the rhythm like candle smoke. The Garden may be one flavor, but it’s a flavor that the group savors properly - this is their definitive sound, and it’s worth submerging yourself completely in.