James Beastly continues to showcase consistently excellent songwriting on his third album We Should Be Animals. Born from collaborative jam sessions in San Francisco following the 2025 LA fires, the record ventures between crunch-driven indie rock, shoegaze, and ambient folk. Thematically exploring the human condition, whilst shifting from apocalyptic frenzy to bittersweet, the productions stretch from string-laden reflections on survival and self to rousing energizers. The artist caught our attention with the excellent album Junk Values in 2023, and continues his knack for both infectious and moody productions on the excellent We Should Be Animals.
The album stirs in its range of emotive atmospherics and catchy rock allure; opening track “Spring Violets” wastes no time in establishing this dynamic range. Pulsing guitars and starry-eyed synths intermingle with seamless cohesion, venturing into morose lyrical sentiments — depicting habitual losses and dark clouds circling overhead in the “age of catastrophe.” Acoustic guitar, subdued synths, and bird-chirping appear for a lushly crafted soundscape, then evolving into a riveting string-laden ardency as the track culminates in an anthemic final minute. “Spring Violets” is fully exemplary of the project’s knack for momentum-filled song structures and eclectic tonal prowess, from outdoor-set serene ambience to bursting rock charisma.
Also impressing with its use of strings, “Fear Of Joy” comes next, consuming with its hypnotic initial mixture of jangly guitars and soft acoustic strums. “When the seasons change, with every spell I fall under,” the introspective vocals let out, ascending to a soaring blissfulness as the caressing strings hit. A title-bearing segment enamors thereafter, favoring a jangle-pop disposition within a haunting vocal pull. “She keeps living in my dreams,” a smitten state continues, dazzling in its heartfelt emotion. “The Defeatist” continues the album’s eclectic start, shifting there between a hard-rocking ferocity, dark synth-touched brooding, and dreamier intrigue, led by solemn vocals and balmy acoustics. Shades of The Church show in the track’s quieter moments, venturing wonderfully into a delectably raucous interplay between rocking guitars and late-night synths.
The album’s title track is another standout, developing from harmonious folk-set contemplations and delightfully gentle piano/synth interactions into a dose of free-flowing brass passion. The lyricism also does well in artfully capturing a thematic tenant throughout the release, its “who forgot that they were animals” Bowie-esque inflection provides insight on the human condition, and how animalistic impulses — such as lion-like roaring — have its own societal consequences, despite natural inclinations. “We should be animals,” the vocals enamor, repeating into lovely overall instrumentation.
The quality songwriting and atmospheric productions on We Should Be Animals don’t let up. “Consolation Prize” succeeds in its spacey synth work and twangy guitar tones, enthralling with a psychedelic overall tint and into a more expressive guitar send-off. Elsewhere, “Ephemera” unfolds with understated, delicate charm — melding easy-going acoustics and second-half piano infusions as vulnerable “I wrestle with these shadows of doubt” lyricism consumes into gorgeous saxophone additions. We Should Be Animals is a thorough success of an album from James Beastly.
We Should Be Animals is out on March 20th.
