Following much anticipation, Wishy have released their first long player, Triple Seven. It feels like the Indianapolis band have been around for far longer than a group just now releasing their debut album. That may be due to regular airplay on SiriusXMU, including being featured on the “Download 15” eight times, following a pair of 2023 EPs and the singles leading up to this release. That familiarity is also a product of the wistfulness they create in terms of the styles that they reference.
Wishy’s primary songwriters, Kevin Krauter and Nina Pitchkites, crossed paths over the years (they even attended the same high school). They eventually formed a connection through music, which they ultimately solidified by writing songs together. The two formed a band that changed names and styles until they landed on Wishy. As part of their development, Krauter wanted the act to be “louder, more aggressive, more fun”, so they added additional musicians that included Dimitri Morris (guitar), Mitch Collins (bass), and Conner Host (drums).
Suffice it to say that Krauter and Pitchkites have natural synergy, and a lot has come together in relatively short order. Their philosophy is to make music they would want to listen to, which includes genres such as shoegaze, grunge, and power pop. A track like “Spinning” from their 2023 EP Paradise (which included five songs from the same recording sessions as their debut) combines dream pop and 1990s folk-pop as if the Cocteau Twins melded into the Corrs. Not surprisingly, Triple Seven delivers on Wishy’s promise to include diverse influences, but it also represents a band learning who they are early in their career.
As promised, Wishy generate sounds that range from shoegaze (“Little While”) to indie-pop (“Just Like Sunday”), but most of their music is channeled through mainstream 1990s alternative rock and that which followed in the 21st century. For instance, “Honey” has a singular sound but approximates the Silversun Pickups had they emulated Yellowcard instead of Smashing Pumpkins. In addition, the emo-tinged punk album opener “Sick Sweet” bursts with the youthful energy of Cloud Nothings and Japandroids in equal doses. The album closer, “Spit”, keeps that punk energy but honors Stone Temple Pilots through its final run.
The lead single, “Love on the Outside”, features bright guitar notes that hearken back to the Cure but also channels the yearning pop-rock of Third Eye Blind. It gushes with innocence, making it one of the most irresistible songs of the year. Including the other endearing tracks, “Triple Seven” and “Just Like Sunday”, it becomes readily apparent why certain listeners—namely those who once found comfort outside of grunge and college rock—gravitate toward Wishy.
Triple Seven, at times, lacks the production that could lend Wishy’s style a certain level of sophistication. While some of the poppier songs benefit by not having an overly processed sound, a few elements are too raw, in particular, the vocals on a handful of tracks, including “Game”, “Little While”, “Honey”, and “Spit”. While this choice is undoubtedly deliberate, the finished product can come across as one-dimensional.
In addition, the album’s themes, at times, lack maturity. According to Pitchkites, 777 is “an angel number that symbolizes spiritual awakening and knowing one’s self”. The lyrics to the title track seem incongruous with that concept, as they are filled with questions that search for meaning in another person. Maybe she needs to get back to her core and is urging herself in that direction. Pitchkites contributions, in particular, seem to wrestle with unrequited love, featuring lyrics such as, “Woke up again with your name in my mouth / Drive myself sick not to let it fall out / Cause you say the word and I’ll fall at your feet / Does this mean the world to me” (from “Love on the Outside”).
Triple Seven is reflective of Wishy’s promise. There’s already a parallel between Wishy and indie sensations Wet Leg and the Last Dinner Party (both British) in that these acts went from being relatively unknown to being thrust into the spotlight. We have yet to see if Wishy and their Midwestern origins will produce that same level of enthusiasm, but they have a good start with their regular airplay and the quality outing captured here.
Bigger questions remain related to the band’s future. Will Wishy rein in their influences? Will their next effort be high-fidelity? Will the songwriting duties remain evenly split? We will have to wait to see which direction Wishy actually take, but the pace at which they are heading suggests it could be sooner than we think (fingers crossed).
With Triple Seven, Wishy have shown that their music can exist in two different realms, sometimes even on the same tune (like the one-minute outro on “Love on the Outside”, which brims with Incubus’ sun-drenched intensity). Even if Wishy are essentially making music they want to hear, they seem to be in tune with their rapidly growing fanbase. As a result, they offer a fresh take on some proven sounds.