Swoon Lake has the eerie delicacy of the ballet from which their titular pun sprung—fragility, folklore, and an air of the ethereal drifting calmly through their three-track debut, Like Being in a Mouth. Lead singer Melodie Stancato’s voice is gripping, dipping between low, soulful timbres and high, lilting sopranos, as light traces of melancholy work their way into the “spooky and sensual” fabric that the trio has draped themselves in.
Despite her Brooklyn zip code, Melodie Stancato’s spine-tingling intonation feels like a dainty call of the wild, an alluring lullaby drifting through a dark wood. In fact, there’s a heavy emphasis on the evening and sleep in Swoon Lake’s songs, or at least the in-between state it elicits (swaying between the vague terrain of a dreamworld and consciousness).
Take "Narcolepsy," a track which refers to the condition by which sleep becomes uncontrollable, seeping into those moments where it doesn’t belong. The song is beautifully unsettling, a simple acoustic guitar petering between haunting vocals, as visions of an “unspoken world” and tears spilled in sleep are painted with Stancato’s pitch. It plays like a fairytale, a story that glistens with a poetry beyond our humdrum day, but has a darker, haunting component lurking somewhere underneath. Deemed “ghost-folk” by the band themselves, Swoon Lake’s sound is stirring and celestial, the kind of uncanny that makes you weak in the knees.