Dev Lemons - hunting what we already killed (2026)
With hunting what we already killed, Dev Lemons moves further away from the eccentric electronic pop of her earlier recordings towards a darker combination of alternative rock, shoegaze, trip-hop and experimental electronics. Working with producer Emmett Kai, she constructs eleven compositions that draw heavily on the atmospheric guitars and distorted textures of 1990s alternative music while retaining the digital manipulation and unusual production techniques associated with her previous work.
It's an interesting direction, particularly because the combination of melancholic melodies, noisy guitars and electronic rhythms has considerable potential. However, I find the results rather uneven. The production frequently introduces fascinating textures, but the underlying songwriting doesn't always justify the complexity of the arrangements.
What interests me most is the contrast between Lemons' fragile vocal delivery and the considerably heavier instrumental environment. Her voice often sounds restrained, almost vulnerable, while the guitars and synthesizers create dense, occasionally overwhelming atmospheres. This relationship can be particularly effective when the production reinforces a memorable melody, but too often the instrumental details become more interesting than the compositions themselves.
"only one way to know" opens the album with an appealing combination of atmospheric textures and relatively understated songwriting. I appreciate the slightly unstable electronic character, which immediately distinguishes the music from conventional alternative rock.
However, the composition feels rather insubstantial. The melody doesn't establish a particularly strong identity, and the relatively short structure prevents the instrumental ideas from developing into anything especially memorable. It's an intriguing introduction, but not one that encourages repeated listening.
"in the middle of the night" is one of the album's more enjoyable compositions. Its darker atmosphere and combination of electronic production with guitar-oriented songwriting create a convincing sense of emotional uncertainty.
I particularly appreciate the contrast between the restrained vocals and the more substantial instrumental textures. The arrangement has an appealing melancholy, recalling the darker side of contemporary shoegaze and indietronica.
Nevertheless, the musical progression remains relatively predictable. The production is attractive, but I find the central melody less memorable than the atmosphere surrounding it.
"let you" moves towards a softer, more explicitly electronic direction. The synthesizers establish an almost dreamlike environment, while the vocals introduce a more intimate emotional character.
I appreciate the change of pace, particularly because it demonstrates that Lemons doesn't need enormous guitars or distorted percussion to create an interesting atmosphere.
However, the songwriting is relatively slight. The delicate textures are beautiful in places, but the composition lacks sufficient melodic development. It feels more like an atmospheric sketch than a particularly substantial song.
"eat the pavement" is one of the stronger tracks, largely because of its heavier instrumental character. The combination of thick guitar chords, forceful percussion and comparatively restrained vocals creates an effective contrast.
I particularly appreciate the physical impact of the guitars, which introduces a welcome sense of intensity. The relationship between shoegaze distortion and alternative-metal heaviness is appealing, especially when the quieter passages provide enough space for the louder sections to become meaningful.
However, the arrangement relies on a relatively familiar loud-quiet structure. The contrast is effective, but the composition doesn't introduce many unexpected developments beyond its initial instrumental approach.
"pace" continues the exploration of restless electronic rhythms and alternative-rock textures. I appreciate the unusual production details, although the musical identity feels increasingly familiar.
The arrangement introduces several interesting synthetic sounds, but they don't always contribute to a coherent progression. I occasionally feel that the production is designed to maintain attention through constant changes rather than develop a particularly strong musical idea.
The result is moderately enjoyable, but not especially memorable.
"easy for you" is less convincing. The composition remains within the album's familiar emotional territory, combining introspective songwriting with dense instrumental textures.
I appreciate the atmosphere, but the melody doesn't establish a distinctive identity. The arrangement feels rather conventional beneath its elaborate production, and I would have welcomed stronger rhythmic or harmonic variation.
It's one of the moments where the album's aesthetic becomes more compelling than the music itself.
"i never wanted to hurt u (interlude)" introduces a brief transitional piece, offering some relief from the heavier compositions.
I appreciate the idea of creating an atmospheric pause, although the fragment contributes relatively little substantial musical material. Its emotional character fits naturally within the album, but it feels more like an unfinished sketch than a composition worth revisiting independently.
"best friend" is another relatively convincing song, particularly because its emotional progression is more clearly defined.
The composition explores jealousy and insecurity through a combination of delicate guitar passages and increasingly aggressive instrumental arrangements. I appreciate the relationship between the restrained opening and the more forceful conclusion, which gives the music a stronger sense of development than several of the surrounding tracks.
The Midwest emo influence is also appealing, especially through the more intricate guitar textures. However, the vocal performance occasionally becomes overly dramatic, and the repeated lyrical concerns feel rather familiar.
The emotional intensity is convincing in places, but the arrangement ultimately follows a predictable trajectory towards an aggressive climax.
"what happened to you" returns to a darker, more introspective atmosphere. I appreciate the interplay between electronic textures and guitar-oriented songwriting, although the composition doesn't introduce enough distinctive musical ideas.
The production creates a sense of instability, with contrasting textures contributing to the album's overall emotional character. However, I find the songwriting relatively understated.
The melody doesn't remain in my memory, and the arrangement seems more concerned with sustaining an atmosphere than developing a substantial composition.
"another word you say" is my favourite track on the album.
It's the composition that most convincingly combines Lemons' interest in atmospheric songwriting with the heavier instrumental textures explored throughout the record.
I particularly appreciate the contrast between the relatively restrained passages and the imposing conclusion, which introduces a much heavier, almost doom-metal-influenced character.
The gradual increase in instrumental weight gives the song a clearer sense of progression than most of the album. Rather than simply alternating between quiet and loud passages, the arrangement develops towards a substantial climax.
What makes this particularly appealing is the relationship between vulnerability and aggression. The darker guitars feel like a natural extension of the emotional tension established earlier, creating a more convincing connection between songwriting and production.
The instrumental conclusion is especially effective, demonstrating how powerful the combination of shoegaze atmosphere and heavier rock arrangements can become.
Nevertheless, the central melody remains relatively understated, and the composition still relies heavily on production to create its impact. It's the album's most rewarding moment, but not one that entirely escapes its weaknesses.
The closing "ice the bruise" returns to the record's themes of emotional damage and the difficulty of moving beyond painful experiences.
I appreciate the decision to conclude with a more introspective atmosphere after the heavier preceding track. The restrained approach provides some contrast, although the emotional territory has become rather familiar by this point.
The songwriting remains relatively conventional, and the composition doesn't provide a particularly memorable final statement. It's an appropriate conclusion, but not one that substantially changes my impression of the album.
My main reservation concerns the limited strength of the songwriting. Dev Lemons and Emmett Kai create a distinctive sound, but the compositions frequently depend on unusual production textures rather than memorable melodies, interesting harmonic progressions or substantial instrumental development.
I appreciate experimental music when the sonic imagination reinforces a strong musical foundation. Here, however, the production often seems to compensate for relatively ordinary songwriting.
The stylistic influences are another mixed experience. Shoegaze, trip-hop, alternative rock, nu metal and glitchy electronic pop all contribute to the album's identity, but the combination doesn't always feel entirely natural.
Some transitions are effective, particularly when the heavier guitars emerge from a restrained electronic atmosphere. Elsewhere, the changes seem designed to introduce surprise rather than strengthen the composition.
I also find the vocal performances inconsistent. Lemons' fragile delivery can create an appealing sense of vulnerability, but it occasionally becomes too understated to establish a memorable melody.
The more aggressive performances introduce greater emotional intensity, particularly on "best friend", although they can feel somewhat exaggerated. I would have appreciated a broader range of vocal expression rather than relying so heavily on the contrast between whispering and shouting.
The album's lyrical themes are similarly repetitive. Romantic uncertainty, jealousy, disappointment and emotional exhaustion recur throughout the eleven compositions.
These subjects suit the melancholic atmosphere, but I don't find the writing particularly distinctive. The emotional intentions are clear, yet relatively few songs introduce a memorable perspective or unusual imagery.
The production occasionally becomes overwhelming. The combination of distorted guitars, electronic percussion, synthetic effects and layered vocals creates dense textures, but some arrangements feel unnecessarily crowded.
I particularly appreciate the quieter passages, where the individual instruments have enough space to establish their character. The heavier moments are most effective when they emerge from those restrained sections rather than simply adding more layers.
The album's relatively short duration is an advantage. At just over thirty-six minutes, it avoids becoming excessively long, and the stylistic variety provides occasional changes in pace.
Nevertheless, the inconsistency of the compositions becomes increasingly noticeable. Some tracks contain beautiful atmospheric ideas, while others feel like production experiments that haven't developed into complete songs.
There is also a certain dependence on familiar alternative-rock references. The mixture of 1990s shoegaze, grunge and contemporary digital production is appealing, but it doesn't always create a genuinely original musical direction.
I would have appreciated more distinctive songwriting beneath the production, particularly because the instrumental combinations have enough potential to support stronger compositions.
Nevertheless, there are some enjoyable qualities. The album has a recognisable sonic identity, and the contrast between fragile vocals and heavy guitars occasionally creates compelling emotional tension.
I particularly appreciate "another word you say", "eat the pavement" and parts of "best friend", where the heavier arrangements provide a stronger sense of development.
The more atmospheric electronic passages also demonstrate some imagination, especially on "let you" and "in the middle of the night".
However, I find the production more consistently interesting than the actual songs. Too often, the melodies are relatively weak, the structures predictable and the emotional themes familiar.
Ultimately, hunting what we already killed is a decent and occasionally enjoyable alternative-rock album, with imaginative production, appealing atmospheric textures and a few effective moments of instrumental intensity.
I particularly appreciate "another word you say", "eat the pavement" and "in the middle of the night", where the combination of shoegaze, electronic experimentation and emotional songwriting works best.
However, the inconsistent melodies, overly elaborate arrangements and relatively limited lyrical depth prevent me from developing a stronger connection with the complete record.
Dev Lemons has established an interesting musical direction, but the album still feels like an experiment whose production ambitions exceed the strength of its compositions. There is potential here, although I would have preferred greater focus, restraint and more memorable songwriting.
65/100
Playing time: 00:36:18
❤️ Favourite track: "another word you say"
+ Inventive production combining shoegaze guitars, trip-hop rhythms and experimental electronic textures
+ Effective contrasts between fragile vocals and heavier instrumental passages, particularly on "another word you say" and "eat the pavement"
+ Several appealing atmospheric moments and a recognisable musical personality
– Inconsistent songwriting, with relatively few memorable melodies beneath the elaborate production
– Occasionally overcrowded arrangements and predictable loud-quiet structures that limit the impact of the heavier passages
– Repetitive emotional themes and vocal performances that sometimes feel either too restrained or unnecessarily dramatic
Genre: Indie Rock
Country: US
Final Verdict: 65% (Good Album)
Yearly Ranking: 361th / 808
Highlight: another word you say
Made me think of:
yeule
Jane Remover
feeble little horse
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