I’ve struggled to write this retrospective several times now. Perhaps it’s my persistent case of writer's block, or the fact that Meteor Heist has been a key player in my rotation for the entire year it’s been released, but what is there to say about an album you know so intimately? Writing about this EP feels like trying to describe the intricacies of a friendship you’ve had since kindergarten: it’s omnipresent but completely evades being captured, and to try and do so would mean leaving out everything that makes it beautiful. As a music journalist (if I can even call myself that), I know it’s my job to document the feelings I have about a record and pass them onto the reader. I have plenty of good things to say about this EP and the band as a whole, but somehow there’s almost too much of it to summarize neatly in a review. Regardless, this is my attempt at a celebratory track-by-track breakdown. Happy (belated) birthday, Meteor Heist!

Occasionally, you get a gut feeling about a record and know it’s going to change you. I felt this way about Green Day’s American Idiot and Death Cab for Cutie’s Plans, both of which I have written about extensively over the past few years. When I first heard this EP in the early hours of May 24th, 2024, I knew that I wouldn’t emerge on the other side as the same person. Though my love for Meteor Heist is very loud, this EP crept up on me quietly. Most of the tracks were familiar, with almost all of them being setlist staples at the many concerts I’d attended. Though “...” is ambient and a gentle way of easing the listener into the EP, every listen produces this odd swell of emotion that I can never identify the origins of. Somehow, I think my body knows that I’m teetering on the precipice of something, seconds away from the rest of the EP unfurling ahead. Meteor Heist is the band that defines Toronto for me, and there is an aching reminder ingrained in their music that this city is now the only place I can definitively call home. “Circling the Drain” was playing in my headphones when my flight’s wheels touched the tarmac, and they became the first band I saw perform live here not long after. Though this association tinges the EP’s otherwise jaunty indie-pop beginnings with vague sadness, I can assure you it’s not all doom and gloom. I couldn’t think of a better way to start a record off than “know you.” It’s quintessentially Meteor Heist, featuring the sparkly keys, bright guitar, smooth but powerful vocals, and groovy drums and bass that audiences have come to love. When you dig under the surface a little, you begin to unearth the care that goes into each of their songs both lyrically and in terms of production. It’s a tune you can bop your head to, but also one that you can let wash over you when the mood is right.

“light unavenged” has permanently altered the way I think about the St. Lawrence River. What used to just be a blue line on a badly labelled map of Canada has become a geographical reminder of this track. Whenever someone mentions the river, “when St. Lawrence breaks/I’m gonna paddle after you” echoes in my head, and I’ve sung this lyric at my friends during live performances almost too many times to count. Cameron Stewart’s lyricism never fails to both amaze and haunt me. This track has gained more depth each time I’ve listened to it, offering a unique blend of wistfulness and devotion that I’ve yet to find anywhere else. Rather than letting the listener get fully trapped in the swell of the more mournful lyrics, the music pushes steadily forward in a way that mimics the aforementioned rush of water. The drums rumble, the keys arc, and the bass adds a steady undercurrent that floats you along with it. Though mellow and chock full of gorgeous harmonies, “light unavenged” refuses to be too gentle. The ending of this track underscores the depth of the lyrics, building to a crux in the last few moments and leaving the listener perfectly primed for what I think is the best track on this EP.

Though “king city” is best enjoyed live, being able to loop this track has been nothing short of a blessing. The drums on this track sunk their teeth into me from the first listen and have refused to let me go since. The satisfying cracks alongside the rumbling bass line always make me feel calmer as the track walks the line between melancholic and intermittently intense. The build up is part of what makes this track so captivating. The instrumentals go from velvety smooth and painstakingly precise to dissolving into beautiful chaos. This is the only song on the EP where the music truly overwhelms the lyrics, forcing the listener to reckon with the many, masterfully engineered layers. The vocals add a gorgeous texture to the background, grounding the instrumentals that otherwise vie for your attention. For me, this track is perfect for any emotion or moment. Whether I’m miserable and in need of some stability, or just in the mood to be musically transported far from yet another TTC delay, “king city” always has my back.   

“st. lawrence breaks (interlude)” splices together samples from the other tracks, and was created by drummer Thomas Carli and producer Kram Geoffersson. It is another ambient track that offers some respite after the whirlwind that is the first half of the EP.. Though I didn’t appreciate it properly at first, this 44 second moment is vital to the experience of the EP. It’s like a palate cleanser that gets you ready to party again, and who doesn’t like that? 

“future fossils” is a track that you won’t want to stay in your seat for. Originally inspired by a poster purchased at the Royal Ontario Museum, this song makes existentialism danceable. Personally, when I think about what will become of my decomposing corpse, I like to do it while shimmying a little. This song feels bright and cozy to me, despite reckoning with the uncertainty of the future. I love how this track oscillates between describing familiar neighbourhood scenes and life events to pondering what one would do in another lifetime. It’s a collision of worlds that is completely novel, which is always appreciated when listening to music. Spending time with the lyrics reveals their poetic qualities, something that I think adds to Meteor Heist’s allure as a whole. “future fossils” is truly a fan favourite, chock full of more dazzling vocals and accompanying harmonies. The keys are a major contributor to the upbeat vibe, and this track would fall just a little flat without them. I’m glad that despite the more macabre themes, the EP drifts towards the finish line on an upbeat note.

Meteor Heist closes out with the one and only “straw dogs,” a track that I think encapsulates everything that fans love about both this EP and this band. It’s punchy and technically tight, while also featuring a bridge that has embedded itself in my mind. It’s been dazzling crowds at the end of their live sets for many months now, and I couldn’t imagine a better track as the finale. Its role as a single makes it an even stronger choice. Rather than finishing on something unknown, the song’s warm familiarity leaves the listener with an afterglow even when the EP’s long been over. This is the kind of song that hypes me up no matter what context I’m in, and I think that’s what makes it a smash hit. Meteor Heist know how to swing for the fences, and they don’t relent until the very last second. In my humble opinion, “straw dogs” is a testament to their skills as writers, musicians and creators as a whole.

‍Meteor Heist is a debut EP that completely rocked my world. I think it’s very rare for such a young band to create something so meaningful; debut releases are often regarded as the trial run before the good stuff starts. This EP is far from a rough draft, and has become a frequent recommendation for me when discussing Toronto’s local indie scene. There’s a lot to admire, love and analyze throughout its 19 minute runtime, and I feel perpetually lucky to have Meteor Heist at my fingertips.