FINNEAS’ new EP proves that he deserves a solo career outside of producing hits for his superstar sister Billie Eilish.
Despite being heavily influenced by his contemporaries, FINNEAS assembles familiar pop elements into strikingly beautiful and intimate songs on his debut project, “Blood Harmony.”
FINNEAS, whose real name is Finneas O’Connell, began his career behind the scenes, producing and co-writing every Billie Eilish song while releasing a series of standalone singles every few months.
FINNEAS already released most of the material on “Blood Harmony” this way, but putting these tracks into context, even in a project barely 20 minutes long, makes a huge difference.
Demonstrating a unique voice as a songwriter and producer, FINNEAS creates plenty of heart-wrenching earworms accessible even to those that find Eilish’s work melodramatic or scatter-brained.
Opening track “I Lost a Friend” establishes the EP’s tone perfectly, showcasing FINNEAS’ vulnerable performance over sparse pianos and subtle ambiance.
The track builds effortlessly into an anthemic chorus, layering on synths and thick vocal harmonies, complementing each new leg of the song with melancholy lyrics delivered through infectious melodies.
“Blood Harmony” stumbles after the stunning opening with the EP’s only dud, “Shelter.”
FINNEAS crafts a pseudo-folk pop track that brazenly rips off Ed Sheeran’s tired sound, from the overproduced acoustic guitars to the predictable latin rhythm.
The track completely lacks the dynamic flare and intricate production of the last song, and FINNEAS fails to elevate the track with any lyrics and more interesting than standard love song material.
“Lost My Mind” shows just as much influence from other pop stars, but executes its aesthetic well enough to forgive its lack of originality.
The track’s spacey pop balladry and deep melodies will sound familiar to fans of Lorde, but the thumping percussion and airy vocal harmonies help FINNEAS make the track his own.
Hilariously, “I Don’t Miss You at All” mimics Kazumi Totaka’s theme for the Nintendo Wii’s online shop with cheap lounge keys, jazzy chords and a bossa nova beat.
Somehow FINNEAS turns nostalgia and comedy into a legitimate pop song with easy-going vocals, layers of rumbling synths and bright horns.
From here, the second half of the EP just gets better and better, beginning with the dramatic and lovely “Partners in Crime.”
FINNEAS immediately builds a striking atmosphere with lovely acoustic guitar arpeggios, icy ambience and intimate vocals, then slowly unfolds a darkly funny story about two intoxicated lovers getting arrested and separated.
This oddly pretty track truly feels like something only he could create, just like the next track, “Let’s Fall in Love for the Night.”
After a muffled acoustic intro, the track explodes into sweet indie-pop, pairing bright acoustic guitars with a propulsive bassline and snappy drums.
Pairing this classy pop instrumental with one of his most eccentric performances, FINNEAS switches between tongue-in-cheek flirting and stunning falsettos.
The song ends with only vocals, acoustic guitar and the sound of crickets, giving the track an unforgettably raw and vulnerable tone.
“Blood Harmony” goes out with the quiet and the peaceful song, “Die Alone,” patiently building from airy ambience, fragile pianos and deep synths as FINNEAS belts out raspy, yet lovely, melodies.
The track can seem uneventful at first, but FINNEAS’ chill-inducing falsettos and harmonies at the end of the track is worth the wait, creating one of the most stunning music moments so far this year.
Although FINNEAS pulls from familiar sources on “Blood Harmony,” his unique production style and songwriting predict a long career of addictive and inventive pop music.
Even if he never takes his sister’s spotlight, you can count on FINNEAS for some excellent songs and hopefully, more well-rounded projects.
