By – Craig Ceravolo

“Art is not created in a vacuum.”

Art theory, Art History, Humanities – whatever you want to call it, always revolves around the central tenant that art isn’t made from thin air. We all build off those that come before us. “Good artists copy, great artists steal” so says Picasso, anyway. Wishy has influences like we all do; this debut full length just happens to offer up MY influences from 90s alternative (whatever that is). Through a noisy, joyous collection of songs that builds on their previous EPs of guy/girl harmonies and dense, layered guitars with plenty of tremolo bends and dives that we will call “Kevin Shieldsesque,” Triple Seven’s 10 song offering pulls off a nifty trick: It shouts out their shoegaze idols like My Bloody Valentine, Lush and Medicine while being very much an arrival announcement from a band with their own future.

It’s always exciting to witness a young band come into their own. I saw Wishy a few months ago knowing absolutely nothing about them. Led by guitarists and vocalists Nina Pitchkites & Kevin Krauter, the Indianapolis-based group had that new confidence of a road-weary band, but with the charm that exudes “we are in a rock band and it’s the greatest thing in the world” energy. Their gear was unassuming and serviceable – I can’t remember seeing a vintage Fender Jazzmaster or Jaguar at all, which was almost a prerequisite for a similar band in the 90s. They were just having fun and took it seriously – which is infectious for an audience. I was a fan immediately.

Triple Seven opens with Sick Sweet – a perfect out of the gate example of who Wishy is and where this album is taking you. Jangly guitar + noisy lead + wall of reverb guitar wash that nod at MBV’s debut LP, until Krauter’s earnest, emo-tinged vocals come in that’s more Promise Ring than Isn’t Anything. That is what I admire about Wishy, they are pulling from anywhere and everywhere, not bound by a dogmatic adherence to a narrow genre. The title track reinforces this with Pitchkites’ dream-pop vocals channeling Harriet Wheeler from The Sundays in both tone and turn of a phrase in melody. It’s not 90s cosplay – it’s a thesis statements by students of an era.

All the tracks contribute to the overall strength of Triple Seven, Pitchkites & Krauter switch up lead vocals across the 10 songs, with plenty of harmonies for the assist. Love on the Outside is a pop gem with a Cure-worthy intro and a soaring chorus. Just Like Sunday gives us a drum machine beat with Pitchkites soothing vocals, bringing TLC Waterfall vibes. All of this is wrapped up with the riff-y Spit – this time it’s Soundgarden in the best way possible. They closed their show with this rocker and just like with the end of Triple Seven, I was excited to see where Wishy is going next.

Triple Seven is out Friday 8/16