REVIEW: Spanish Love Songs - Future Nausea
Consistency and patience are often what it takes for a band to develop its own identity and find its place in the music world. SPANISH LOVE SONGS are no strangers to that journey. Over the last decade, the five-piece from Los Angeles have steadily reaped the rewards of their hard work, building a following through their melodic punk rock sound, selling out tours, appearing at festivals and sharing stages with some iconic names such as ALKALINE TRIO and KNOCKED LOOSE. Their latest offering, Future Nausea, could well be their finest addition yet.
The album opens with its self-titled track, Future Nausea. Meredith Van Woert’s rapid keyboard work establishes an infectious, toe-tapping rhythm, while Dylan Slocum’s unmistakably wavering vocals bring the rest of the band together. Guitarist Kyle McAulay, drummer Ruben Duarte and newly welcomed bassist Mike Trujillo all find their place within a track that carries an unmistakable early 2000s THE KILLERS feel. The keyboards remain prominent, the drums never miss a beat and the guitars weave effortlessly around one another. It’s an inviting introduction that immediately establishes the album’s direction.
Good American follows and is arguably one of the album’s strongest moments. Its melody is ridiculously infectious, with a deliciously groovy rhythm that brings THE GASLIGHT ANTHEM to mind. The chorus is instantly addictive, making this the sort of song that demands movement rather than passive listening. Slocum’s vocals are perfectly suited to the track, never feeling strained or overworked, while the guitars provide just enough bite without overpowering the melody. There’s even a sprinkling of BRUCE SPRINGSTEEN in its DNA, and it works wonderfully. It’s the sort of track that can turn a good album into a great one.
Welcome To Hell and New Fears continue the momentum. Both feel tailor-made for festival crowds, combining raspy vocals, head-swaying melodies and lyrics that carry a genuine sense of reflection. There’s a nostalgic MATCHBOX TWENTY quality running through both tracks, particularly in their melodic delivery. Beneath the infectious choruses, however, lies something more vulnerable. It’s this balance between accessibility and emotional honesty that makes SPANISH LOVE SONGS so compelling.
Jan666 takes a step back, easing off the accelerator for a slower, emotionally weighted offering. It’s a track that allows its subject matter to take centre stage. There’s no need for unnecessary theatrics or overcomplicated arrangements. Instead, the band give the emotion room to breathe, delivering another reminder that their songwriting is just as effective when the volume comes down.
Doom Tripping is arguably the album’s most vulnerable moment and undoubtedly one of its lyrical highlights. Sonically, it takes on a more expansive, synth-driven direction, but its real strength lies in the message. The simple mantra, “Post-apocalyptic doesn’t mean we all stop dancing”, is particularly striking. It’s a reflection of the world’s increasingly bleak outlook, viewed through the lens of personal struggle and mental health. Slocum’s writing captures that uncomfortable feeling of trying to navigate an increasingly difficult world while refusing to surrender to it. It’s deeply personal, yet there’s something universally relatable about its message.
Shadowland introduces another shift in sound, drawing heavily on 80s-inspired American rock. Its melody and lyrical delivery have an almost cinematic quality, while the guitars carry a distinct SAM FENDER influence. Fender has become one of the strongest modern examples of incorporating retro rock influences into contemporary songwriting, but SPANISH LOVE SONGS demonstrate here that they can operate in similar territory without losing their own identity. It’s a refreshing change of pace and another highlight.
No Dreams is a track that feels destined to become a crowd favourite. While it shares some of the mournful undertones of Jan666, there’s considerably more weight behind its delivery. The drums almost seem to float beneath the arrangement, allowing the guitar work and Slocum’s raspy vocals to carry the song. The addition of a saxophone is an inspired touch, elevating the track without feeling like an unnecessary gimmick. It’s a wonderful example of an instrument being used to complement a song rather than simply decorate it.
Future Nausea Pt. 2 takes a noticeably different approach to its self titled predecessor. Produced by former DEATH CAB FOR CUTIE guitarist Chris Walla, alongside ILLUMINATI HOTTIES’ Sarah Tudzin, the album benefits from a production style that allows the band to experiment without losing their identity. This track is perhaps the clearest example. The lead guitar shifts through an array of textures, at times almost resembling a bassline before evolving into something more synthesised. There’s a real attention to detail throughout, and it demonstrates just how much thought has gone into the album’s construction.
The penultimate track, See You On The Way Out, takes another unexpected turn. There’s a noticeably poppier, more mainstream feel to its opening, which initially makes it stand apart from much of the record. That’s not necessarily a criticism. As the track progresses, elements of the band’s more familiar sound begin to emerge, bringing everything back towards the identity established throughout the album. It’s an interesting detour, even if it doesn’t quite reach the heights of some of the earlier tracks.
The album closes with Until The Sun Explodes, an acoustic offering that strips everything back and allows Slocum’s songwriting to take centre stage. There’s a rawness to the production that feels entirely deliberate, with distorted audio messages appearing between moments of deeply personal reflection. It’s hauntingly beautiful, heartbreaking and incredibly powerful without ever needing to raise its voice. It might not be the explosive finale some listeners expect, but it is arguably the most fitting way to close the record. It’s a track that demands attention, patience and, above all, the respect its subject matter deserves.
SPANISH LOVE SONGS have thrown everything into Future Nausea. They’ve resisted the temptation to follow a familiar formula, instead allowing themselves the freedom to explore different sounds, textures and emotional territories. That approach can sometimes leave an album feeling disjointed, but here it works remarkably well. Despite its stylistic shifts, there’s a consistent emotional thread running throughout, held together by the band’s unmistakable identity and Slocum’s deeply personal songwriting.
Future Nausea is a record that understands the importance of connection. Even in an era increasingly defined by isolation, uncertainty and disillusionment, people are still searching for others to stand beside them in the darkness. SPANISH LOVE SONGS have created an album that acknowledges that struggle without allowing it to define everything. It’s honest, adventurous and packed with moments that deserve to be heard. Ten years into their journey, the band sound more comfortable than ever in their own skin
Score: 9/10
Future Nausea will be released on 6th November 2026 via Pure Noise Records.
Words: David Waites
Photos: Mitchell Wojcik
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