REVIEW: DIIV – ZIRP!
It’s no question that we exist in tumultuous times, fuelled by a seemingly insatiable lust for wealth and power, and Brooklyn based four-piece DIIV continue to commentate upon this with potent depth on their newest record, ZIRP! (standing for ‘zero interest rate policies’). Two years ago, the band released Frog In Boiling Water, a record that anxiously reflected on capitalism’s products of greed through a dystopian-feeling shoegaze sound, themes and tones that evolved from their 2019 release Deceiver, a more personal, fragile experience. Expanding upon Frog…, ZIRP! sees the quartet aim to further develop their style, describing how they attempted to create
desirable pop tracks, featuring catchy hooks and anthemic scores with a satirical undertone beneath it all. It’s promoted as “the new alternative, a new genre for the 21st century”, which ultimately criticises the shiny, predictable mainstream music currently presenting itself as the dominant sound, and challenges listeners to open their mind to understand the intentions behind
each track, rather than using it as a source of background noise.
Intensely kicking off this eleven-track run with menacing, distorted glide guitars and ghostly vocals is The Fountain, the fitting lead single of the record, introducing us to a highly unnerving yet brilliantly captivating atmosphere and the catchy hooks that inhabit much of the album. Fans reminisce on early shoegaze pioneers such as MY BLOODY VALENTINE, citing the deeply brooding instrumental, specifically the enticing guitarwork by Andrew Bailey. Here the tale of the fountain of youth is utilised lyrically as a metaphor for a harmful influence that leads to poisonous cycles, rather than a source of salvation. Following the harsh start, we lead into a somewhat more sombre track about reflecting on childhood, taking a more tender direction that many fans were able to resonate with due to its touching deliverance and compelling lyricism. On Kid, the second single, frontman Zachary Cole Smith thinks back to when he was little, expressing how much the world has changed, but suggests that people don’t change much at all, still fuelled by a desire to belong and harbouring many of the same insecurities.
Moving forward, When The Glow Came For Us begins with a floaty ambience that progresses into a calm beat, where Smith’s charming vocals compliment the fuzzy, electronic vibe. There are further themes of yearning for a place of comfort, paired by a doleful tone, an energy that DIIV effectively manifest through their melancholic shoegazey style. The noisy guitars return on Dare Me, combined with electronic beeps and whirrs to embody a flavourful and nostalgic atmosphere, while the song mentions the first instance of cataclysm in the form of a post-capitalist hellscape, a foreboding discomfort that continues into the next track, The Crash. Smith’s reserved style of singing is enhanced by the dramatic cacophony of noise, notably allowing drummer Ben Newman to unleash a barrage of crashes with excellent ability to control a level of cohesiveness while doing so. The glitchy alt rock force present on this track makes for a thrilling listen, but inspecting the lyrics reveal the slamming of capitalism and billionaires, where the speaker fears for an upcoming collapse of society, acted out through the boisterous instrumental.
Remaining cohesive thematically, Trillions flips the perspective, being a sarcastic track sung by someone obsessed with money, and how they would indulge in meaningless possessions and refuse to share their wealth. This being the third single was admittedly a bold choice by the band due to the unconventional use of autotune by Smith, a decision that seemed to prioritise message over aesthetic, interpreted as a way of mocking the fake, performative people being represented. DIIV say they wanted to create the kind of song that would earn a billion streams, embracing an unexpectedly glittery, clean finish to their robotic pop-rock approach. Us Against You is driven by soaring guitars, crashing drums and a synthetic resonance in a satisfying showcase of talent, contributed to by the remaining unmentioned member, Colin Caulfield, once more exploring escapism. Evangelizer, the following song, houses one of the groovier beats on the record, with an electronic fluttery vibe, performed with infectious drums and deep guitar tones, met with strong cadence by Smith.
The lyrical content shines in the later portions of the album, becoming heavily driven by blunter political commentary, but written to flow through the track with a gratifying tempo. On Underground the pacing is once again slowed to allow the commentary to be easier understood, encouraging the listener to wind down and take it all in. My Star offers a mix of the strengths heard previously, Smith channels the energy, passion and tenderness into a song that seems to be dedicated to his children, thinking out loud about how fast the time seems to pass as he watches them grow. ZIRP! concludes with Idiot In The Sky, a song that takes a lighter, luscious approach to allow for a more emotionally powerful track to appear. The song concludes the project of time and cycles, lyrically seeming to embrace death as a means of breaking this cycle, delivered delicately by Smith, sounding somewhat random at first glance, but finding sense as the track progresses. With a soulful melody and more careful drums, this feels like acceptance, the desperation has finally subsided. DIIV continue to mature, and their outspokenness alongside an already present virtuosity sees them reaching new heights.
Score: 8/10
ZIRP! will be released on October 30th 2026 via Fantasy Records.
Words: Paul Cutts
Photos: Louie Kovatch
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