Project Description
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SUPAHONEY
WISHING IN A FISHBOWL
Album Review
(22nd September 2024)
Review by Audrey Songvilay
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Photo – Hans Sutio
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Supahoney have been carving their name into the indie rock scene, but with their new album, Wishing in a Fishbowl, they’re making some serious noise. Hailing from Sydney, this album feels like a big step up for the band, not just in sound but in emotional depth too. It explores personal reflections and a willingness to experiment, blending everything from alt-country and math-rock to moments of contemporary minimalism. The addition of a string trio brings an unexpected but totally welcome layer of haunting beauty. It’s the kind of album that shows just how far Supahoney has come— so let’s delve deeper into the track list.
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Steve
‘Steve’ kicks things off with a playful, almost carefree energy, but don’t let that fool you—this track is much more layered than it seems. Ciaran Heraghty’s polyrhythmic drumming gives the song a lively groove. The lyrics are cheeky, painting a picture of some of Steve’s comical escapades, while the guitars ride a smooth groove. What’s great about ‘Steve’ is how it sneaks in these subtle complexities beneath what feels like a simple, fun jam. It’s an easy track to get into, making it the perfect opener to ease you into the album without giving away too much. It’s like Supahoney saying, “Hey, we’re just getting started. Stick around, things are about to get real interesting.”
Foreigner
‘Foreigner’ shifts gears entirely, diving into darker, more serious territory. The jagged guitar riffs hit hard right from the start, and the relentless bass drives the whole thing forward with a kind of restless energy. There’s a real sense of urgency here, both in the music and in Wallace’s emotionally raw vocals. This is a track about feeling out of place, about being on the outside looking in, and you can feel that tension building as the song progresses. The beauty of ‘Foreigner’ is how it leaves you hanging—just when you think it’s going to give you a resolution, it keeps you in that unresolved emotional space. It’s moody, it’s intense, and it definitely sets a heavier tone for what’s to come.
I Wish
‘I Wish’ is the emotional centrepiece of the album and my favourite track of the album. This is where the strings come in, and yes, they make an impact. Jenny McCullagh, Lily Innis, and Aidan Filshie bring a haunting, cinematic quality to the track that instantly pulls you in. Wallace sounds more vulnerable than ever, and you can hear every bit of that emotion in his voice. The verses are stripped back and spacious, giving the song room to breathe, while the sweeping orchestral moments hit like a gut punch. It was recorded at the Old School Building at The University of Sydney, and you can feel that raw, almost sacred energy in the track. It’s haunting, beautiful, and deeply personal.
Bunyip
‘Bunyip’ cranks up the rhythmic complexity in a way that makes you want to listen on repeat just to catch all the little details. Ciaran’s drumming is next-level here, layering polyrhythms that give the song a sense of controlled chaos. It’s like a math-rock fever dream, but it never loses its groove. There’s something hypnotic about the way the instruments play off each other, shifting and evolving throughout the track. It’s one of those songs where you hear something new every time you spin it. ‘Bunyip’ is easily one of the most technical tracks on the album, but it never feels like it’s showing off—it’s just a masterclass in rhythmic interplay.
Tumble
‘Tumble’ brings a little alt-country flair to the mix, but of course, Supahoney does it in their own math-rock way. The twangy guitars give it that dusty, road-trip feel, but there’s so much going on under the surface. The band plays with tempo and rhythm in a way that keeps you guessing, and yet the whole thing flows so smoothly. Wallace’s vocals have this aching quality to them, like he’s singing from a place of real emotional depth. The lyrics feel deeply personal, capturing that sense of movement, both physically and emotionally. It’s a song about transitions, about finding your way, and it’s got a warmth to it that makes it one of the album’s standout moments. The band manages to strike a perfect balance between genre experimentation and emotional depth with this track.
Flieger
‘Flieger’ is where things get really experimental – in the best way possible. This track leans heavily into electronica, with pulsating synths and atmospheric beats creating a hypnotic soundscape. It’s a complete departure from the rock-driven tracks that came before, but it works. The vocals are more subdued here, floating over the mix like another instrument rather than the focal point. There’s a minimalist vibe to the whole track, but it slowly evolves, layering in more textures as it goes. ‘Flieger’ feels like a deep breath in the middle of the album, giving you space to just get lost in the sound. It’s different, but it’s a welcome curveball that makes it a memorable part of the album’s broader narrative.
Faust
‘Faust’ pulls things back into more familiar territory, but with a darker, introspective edge. The track is a slow burner, starting off with these brooding guitars and a sparse drum pattern that builds in intensity. Lyrically, it’s heavy, exploring themes of temptation and sacrifice, and you can feel that weight in Wallace’s delivery. There’s a tension that runs throughout the song, like it’s always on the verge of exploding but never quite does—until the final crescendo, which hits like a cathartic release. It’s haunting, it’s powerful, and it leaves you feeling like you’ve just been through something.
Wishing In A Fishbowl
As the title track, ‘Wishing in a Fishbowl’ is the emotional anchor of the whole album. The strings come back in full force, adding this sweeping, almost cinematic quality to the song. It’s a slow build, starting with soft, introspective verses before exploding into these massive choruses that hit you right in the gut. The vocals are raw and unpolished. The themes of isolation, longing, and unfulfilled dreams are woven throughout the song, making it one of the most deeply personal moments on the album. The orchestration is lush and expansive, that makes the whole track feel like a standout moment.
Kogarah
‘Kogarah’ is a sonic journey, plain and simple. The arrangement is sweeping, with layers of instrumentation building toward a cathartic finale. It’s one of those tracks that feels both huge and intimate at the same time, like its exploring vast emotional and physical landscapes. The interplay between the strings, guitars, and drums creates this lush, textured soundscape that you can’t help but get lost in. It’s the kind of song that makes you want to close your eyes and just let it wash over you. By the time it reaches its conclusion, there’s a sense of closure, but the emotions it stirs up will linger long after the final note fades.
Diptych
The album closes with ‘Diptych,’ a quiet, introspective track that feels like a moment of reflection. Compared to the rest of the album, it’s stripped back, letting Wallace’s voice take centre stage. There’s a rawness here that feels almost vulnerable, as if the band is leaving you with one last, unfiltered thought. The simplicity of the arrangement is deliberate, offering a calm, poignant end to an album that’s been full of sonic twists and emotional turns. It’s a fitting finale, leaving you with a sense of peace after the whirlwind that is Wishing in a Fishbowl.
In Wishing in a Fishbowl, Supahoney have crafted an album that is as adventurous as it is personal. They’ve taken bold risks—blending genres, experimenting with new sounds, and pouring raw emotion into each track—and those risks have paid off.
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WISHING IN A FISHBOWL
Track List:
Steve
Foreigner
I Wish
Bunyip
Tumble
Flieger
Faust
Wishing In A Fishbowl
Kogarah
Diptych
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Follow SUPAHONEY
Official website – Instagram
Facebook – Twitter – Spotify
Apple Music – YouTube – Tik Tok
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Press Release 13th September 2024 (below) HERE
SUPAHONEY
New album
WISHING IN A FISHBOWL
Out Now!
LISTEN HERE
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