“Dreaming of David” by Ryan Beatty

I discovered Ryan Beatty after he was featured on BROCKHAMPTON’s hauntingly angelic song “BLEACH.” That was three years ago. 

In 2018, Beatty released his debut album entitled “Boy in Jeans.” I listened to the album on repeat for weeks. Beatty’s unadulterated voice matched with raw and nostalgic lyrics, specifically on his songs “Haircut” and “Cupid,” was unlike anything I had heard before. He is starkly unique. All this is to say, I was incredibly excited when I found out his sophomore album was coming out in 2020.

“Dreaming of David” was released on January 31 and I listened immediately. The first song called “In The End,” a lo-fi and synth-heavy beat, sets the tone for the album. And it is a tone I did not expect. 

The first five songs on the album sound identical to me. They utilize primarily electronic instrumentals and distorted vocals that easily qualify it as part of the bedroom-pop genre. The constant repetition, both in lyrics and beats, nearly put me to sleep. 

I became increasingly fearful that I would dislike every song on one of my favorite artist’s albums. I wanted to hear Beatty’s beautiful voice; I don’t know why he would distort it so you can barely even hear what he’s saying. I missed the indie-pop feel of “Boy in Jeans,” in which songs had a drum beat, change of pace, and audible lyrics. 

My attitude altered when I heard “Evergreen,” Beatty’s newest single from the album. The song has a nice beat drop and the return of his classic nostalgic lyrics, such as the build up of, “If there’s nothing around the corner…”. To be honest, it was the first song on the album I enjoyed. It reminded me of something his frequent collaborator, Kevin Abstract, would make.

The sound of “Dreaming of David” shifts as you approach the end of the album. It transitions from a lo-fi, nearly RnB sound to more classic indie-pop, with guitar riffs and clear vocals. My favorite tracks are “Backseat,” “Casino,” and “Shimmer” because they are distinctly the latter. They are heartfelt and gentle, but maintain real and original instrumentals. That is why I love Ryan Beatty.

It is completely understandable that Beatty’s sound has changed since “Boys in Jeans.” That was years ago. If “Dreaming of David”’s ethereal, lo-fi tone is the direction Beatty is moving in though, I commend him for that transition. Beatty is only twenty-four, so I’m excited to see where he takes his sound next. As long as there is a song or two similar to “Backseat” and “Casino,” then I’ll be listening.

We all know how subjective music taste is, so I still strongly suggest listening to Ryan Beatty’s albums for yourself.

– Shea Humphries