something to listen to when driving on the freeway with the windows down.

 

Straight away, “33/3”  oozes sass and makes me want to get up and move. This song continues the theme presented in “Higher Hills,” focusing on an ending as opposed to a new beginning. My favorite part of this song falls after the second chorus, which is a precursor for the focus on the guitar work in “Our March” and a delicious anthemic verse accompanied by the first taste of nearly bare-naked guitars.

 

“Our March” is my favorite track off of the EP. It is less rooted in Nineties emo, all the while slightly reminding me of Dowsing. It is the most relaxed and longest song off White Lights. It opens with lazy, layered guitar tracks and well-placed drum beats that don’t distract the listener from the guitars. Despite the fact that Higdon’s vocals in this song aren’t as ferocious as they were in the first two tracks, he allows himself to strain his voice only a few times in the song. Frontier(s) then opt to close out with a solid two and half minutes of slow-paced instrumental melody, leaving me blown away.

 

“The Low High” would be paired up with “Our March” if it had to be, but the song is a bit out of place. While it happens to be the second longest track on the EP, it isn’t as mellowed out as “Our March” or as angry and quickly-paced as any of the other tracks. “The Low High” is sharp, featuring more of Higdon’s distinctive rasp and more present bass line leading into what could possibly be considered a guitar solo.

 

“Bare Hands” brings the EP to a close, leaving me much angrier than I was before I had listened to White Lights. Stinnett’s drumming is given more exposure later in the song, which works out well as it’s paired with the frequently-changing guitar styles. While it fits where it was sequenced, “Higher Hills” may have been a better, more uplifting closer.