Starcrawler have a raucous appeal where they sing to varying topics in fascinating ways, like making a love-rock anthem about giving and getting head or sending a message to a patriarchy enforcing this dangly appeal without reinforcing your distinct personality. That track, “Toy Teenager,” criticizes the plastic [Mean Girls] society in High Schools, focusing on visual appearance instead of understanding how the real world works. Mostly lyrically profound, Starcrawler has been able to get past few rock conventions, continuing to deliver headbanging music that will have you lifted with that rebellious spirit. Though it’s no surprise seeing their growth from the hard rock-focused Starcrawler to their third album, She Said, an album that would also mesh in the 80s with pivoting, apparent genre influences in the productions like new wave and post-punk. It builds from the known, shifting between tempos and instrumental effects to establish an almost radiant listen that sometimes falters due to slight ineffective production and limited scope with its approach to its themes.

Opening with hard-hitting bravado, Arrow de Wilde, frontwoman of Starcrawler, starts with a destructive and empowering anthem about leaving your bum of significant other and mowing them over, leaving them, like the song’s title, roadkill–metaphorically. It sets the overall sonic theme creating unique contrasts with its central themes–a reflection on relationships with others and oneself, giving us darkness and hope–it starts shifting based on the quality of the production. Between steel pedals and guitarists, they elevate the less driven drums coasting in inoffensive rhythms. Yet, they kept it interesting by incorporating radical instrumental changes, whether as a closer or in song transitions that shift the apropos mundaneness of “Stranded” in contrast to the new wave-influenced “Broken Angels.” Despite both having great songwriting, the former falter because there isn’t anything interesting done in the production. 

It isn’t so often the genre influences shine through a few layers of sounds. At times, Starcrawler brings forth characteristics we’ve seen evolve through the years–closing on guitar-centric instrumental, no vocals, that plays with ferocious electricity, for one. Additionally, they levy their post-punk/hard rock aurora to set a foundation and grow–with their sardonic and saddening lyricism shedding various emotional perspectives–not all have that oomph to keep me interested. Arrow De Wilde is angry, longing, and contemplative about the effects of change. These emotions strengthen certain songs and downplay others like “Runaway.” 

Depending on its sonic tone, Arrow De Wilde flows with enough consistency that you’re headbanging along. It’s almost as if she didn’t need to take that extra step to stop it from diverting from being stylistically nuanced with 80s rock, even if the songs aren’t consistently hitting. We get Arrow performing fiercely or with broken barriers and softening near-ballad-esque melodies, and it works well. But there is something to them that keeps these ears enthralled, and that’s their synergy. It gets heard like the melodic coating of “Midnight” or the continued new wave stylings of “Jetblack.” It’s a remarkable contrast to the drab sounds of “Thursday.”

There are elements on She Said that work great, but it’s thematically mundane, leaning too much into motifs instead of exploring more like past albums. It’s more prevalent with tracks focusing on aspects of longing; the interest levels wane, like with “Thursday,” which doesn’t do much to extend beyond a standard rock instrumental. Unfortunately, it doesn’t stay as consistent as their last album, Devour You, which consistently transitions between topics. We aren’t getting a more jovial-like song like “I Love LA” or artful and kinetic like “Chicken Woman.” However, it’s fun to hear this unique direction, especially as they give us songs that work and keep us headbanging for a while longer.