Tennis : Face Down in the Garden
Tennis arrived fully formed in 2010 with Cape Dory. The married duo of Alaina Moore and Patrick Riley created sweetly sour indie-pop tunes on guitar and piano, complete with delightful harmonies. Across six full-lengths and two EPs, they explored the various nooks and crannies of ‘50s vocal pop, ‘70s soft rock, and ‘80s sophisti-pop without ever coming across as copycats. Instead, you could hear their respect and admiration for acts like Bread, Air Supply, The Carpenters, and Everything But the Girl in their artful arrangements, bright melodies, and keen instrumental choices. You could spin their singles in DJ sets and instantly get people asking what forgotten gem from their parents’ record collection they were hearing.
So, when the band declared that 2025’s Face Down In the Garden would be their seventh and final album, long-term fans might be forgiven for their collective nervousness. Pre-announced swan songs don’t have the greatest reputation. They’re often filled with tracks that either didn’t quite make the cut on earlier releases or reveal a group at their creative nadir. Why else would they be quitting? However, in a case of exceptions proving the rule, this nine-song record reveals two artists at the absolute height of their powers.
Led by Moore’s immaculate soprano, layers of twinkling keys, and Riley’s sublime guitar textures, the album overflows with tremendous ‘70s vibes. The gifted twosome then infuses a commanding modern production, with crisp drumming and smooth basslines. As one of the more underappreciated bands from the second wave of 21st century indie rock, the group condenses so many underground pop ideas into a single release without copping to nostalgia. They prefer the lovelorn and bittersweet but deliver it through romantic, yet realistic lyrics that are dreamy without being escapist.
On “Weight of Desire,” a sultry groove conjured on synths and bass provides a lush bed upon which Moore can ooze a patient sensuality. With “At the Wedding,” the duo channels a gentle R&B and psych fusion, even as the words detail two people slowly falling out of love through poor communication. “Sister” is a blissed-out ditty with clean guitar licks and spacey bass runs, the perfect complement to Moore having a tender conversation with a woman named Alison. The penultimate track, “12 Blown Tires,” struts at a pleasant andante, complete with warm guitar tones and minimalist drumming that sits perfectly in the pocket.
Tennis revel in turning familiar chord progressions upside down and inside out. You swear you know exactly where the tune will go next, only to find that they’ve tricked you again, but without alienating your ears. Their penchant for airy production allows for maximum sonic clarity, even when they lace Moore’s vocals in reverb, or she dips her register to gentle cooing. If Face Down in the Garden is to be the band’s final album, then they have gone out on the highest of possible notes.
Label: Mutually Detrimental
Year: 2025
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