Bryce Vine shines on the sophomore album Motel California. Pop facing, yet genre blending, musically intelligent and vibrantly playful (a sentiment that’s hammered home by the albums title, a tongue in cheek ode to Eagles ‘Hotel California’), the album continues to showcase Vine’s ability as both a writer and performer.
Showcasing radiant Alt-Pop songwriting which traverses undertones of R&B and Americana, shuffling Bedroom Pop and guitar driven Pop-Rock, the album brings a vibrant and attentive array of soundscapes across its twelve tracks.
Opening with the detuned guitar of the title track ‘Motel California’, the track wastes no time introducing Vine’s instantly recognisable, smokey lead vocal and radiant earworm melody. As the track reaches the chorus, the soundscape opens out with widely spaced backing vocals and minimal drums to highlight the tracks pop focus.
At the midpoint, the track reaches a euphoric guitar solo which serves to hammer home the range of influences in Vine’s sound; from the commercial pop melodies, to the Americana/ Country flourish on the guitar work to the R&B groove.
Elsewhere on the album ‘DRUGS’ takes a more feel good, buoyant electronic-pop approach, while ‘Vine St.’ brings a driven pop-rock sound comparable to YUNGBLUD.
Other highlights include, the vibrant indie-pop grower ‘GOOD 4 NOTHING’ which captures a joyous and driving sense of energy whilst beginning more of Vine’s authentic and naturally catchy melodies. ‘Rocky Mountain’ featuring Brittney Spencer brings the most obvious Americana-pop feel with its strummed acoustics and playful (and believe it or not, tasteful) hint of ‘Cotton Eye Joe’.
An album that’s as boldly commercial as it is musically inventive, Motel California is a dynamic, playful, and sharply crafted showcase of Vine’s artistry. It captures both his creative range and his instinct for hit-making with impressive ease. It’s easy to see why he’s already a platinum-selling artist—and with this release, he’s poised to build even further on that momentum.
