DIIV - ZIRP! (2026)
A pleasant but somewhat uneven collection of alternative rock and shoegaze compositions that introduces brighter melodies, more accessible songwriting and subtle electronic experimentation without substantially transforming DIIV's established musical identity. Produced by A. G. Cook, ZIRP! combines dense distorted guitars, atmospheric arrangements and clearer vocals with occasional electronic textures. I particularly appreciate the detailed production, the instrumental interaction and some enjoyable melodic moments, especially on "The Fountain" and "Trillions". However, the songwriting rarely matches the quality of the arrangements, and several compositions rely on familiar shoegaze structures without introducing sufficiently memorable ideas. A good album whose sonic atmosphere is considerably more convincing than its emotional impact or songwriting.
With ZIRP!, DIIV return with their fifth studio album, adopting a relatively brighter and more accessible approach after the darker atmosphere of Frog in Boiling Water. The collaboration with A. G. Cook is an interesting choice, considering his background in experimental electronic pop, although the result remains firmly rooted in alternative rock and shoegaze. I appreciate the additional production details and the clearer instrumental arrangements, but I don't find the stylistic evolution particularly substantial. The electronic elements introduce some variation without fundamentally changing the band's musical language.
The guitars remain the album's main attraction. Zachary Cole Smith and Andrew Bailey create dense arrangements combining shimmering melodies, fuzzy distortion and occasional heavier passages, while the rhythm section provides a relatively convincing sense of movement. The production is rich and carefully constructed, with numerous instrumental layers emerging throughout the compositions. However, I occasionally find the arrangements excessively dense, particularly when the different guitar textures don't introduce substantially different musical ideas. The sound is frequently impressive, but the actual compositions are less consistently rewarding.
"The Fountain" provides an enjoyable introduction, combining distorted guitars and electronic details with a relatively immediate melodic character. I appreciate its energy and the way the different instrumental layers interact. "Trillions" is probably the album's most convincing composition, particularly because its brighter rhythmic character gives the music a more recognisable identity. The combination of melodic guitars and subtle electronic production works naturally, and the song contains one of the album's more memorable musical ideas. "Dare Me" also benefits from a relatively direct approach, while "Idiot in the Sky" offers an appealing atmospheric conclusion. However, I find several other compositions less distinctive, with similar guitar arrangements and understated melodies making them difficult to remember individually.
The production is one of the record's strongest elements. Cook avoids imposing an excessively electronic aesthetic, preserving the band's instrumental character while introducing subtle processing and additional sonic details. The guitars retain their atmospheric depth, and the clearer vocal production gives the lyrics more prominence. I appreciate this balance, particularly because the album remains recognisably DIIV. Nevertheless, I don't think the sophistication of the production consistently translates into stronger musical ideas. Some songs seem more concerned with establishing an immersive atmosphere than developing convincing melodies or memorable structures.
My main reservation concerns the songwriting. DIIV clearly understand how to construct appealing sonic environments, but the compositions frequently rely on familiar shoegaze conventions. Repetitive guitar patterns, restrained vocals and gradual instrumental development appear throughout the album, occasionally creating a sense of uniformity. I generally appreciate atmospheric rock when the textures reinforce a strong melodic or emotional progression. Here, the atmosphere often becomes the principal attraction, while the underlying songs remain relatively ordinary.
The vocal performances are another mixed element. Smith's delivery is more prominent than on some earlier DIIV recordings, allowing the lyrics to emerge more clearly from the arrangements. The themes of economic anxiety, technological influence and social deterioration provide an interesting conceptual foundation, particularly when contrasted with the relatively bright musical presentation. However, I find the emotional impact somewhat limited. The restrained vocals rarely communicate enough intensity or vulnerability to make the songs particularly affecting, and the lyrical perspective doesn't consistently compensate for the lack of memorable melodic writing.
I also find the collaboration with A. G. Cook less adventurous than expected. The electronic details and more colourful production introduce a slightly different character, but the album remains close to the band's established approach. This isn't necessarily a problem, particularly because DIIV already possess a recognisable identity, although I would have appreciated more substantial experimentation or a stronger contrast between the different compositions. The result is pleasant and coherent, but rarely surprising.
There are nevertheless several enjoyable moments. "Trillions" demonstrates how effectively the band can combine atmospheric guitars with more immediate songwriting, while "The Fountain" benefits from its energetic arrangement and relatively distinctive production. I also appreciate the closing atmosphere of "Idiot in the Sky", which provides a convincing sense of continuity with the band's earlier material. The album maintains a consistent quality of instrumental performance, and the production gives the music enough depth to remain interesting even when the compositions are less memorable.
Ultimately, ZIRP! is a good but somewhat underwhelming shoegaze album. Its rich production, distinctive guitar textures and occasional melodic highlights make it an enjoyable listening experience, but the relatively conventional songwriting and limited emotional impact prevent it from becoming particularly rewarding. I appreciate the band's sonic identity and the additional production details introduced by A. G. Cook, although I would have preferred stronger melodies, more substantial contrasts and a greater willingness to explore genuinely different musical directions. There is musical quality here, but not enough memorable material to distinguish the album significantly from the band's previous work or the broader contemporary shoegaze scene.
66/100
Playing time: 00:41:36
❤️ Favourite track: "Trillions"
✚ Rich and detailed production combining atmospheric guitars, organic instrumentation and subtle electronic textures
✚ Convincing instrumental performances and enjoyable melodic moments, particularly on "The Fountain" and "Trillions"
✚ Coherent sonic identity, preserving DIIV's characteristic shoegaze atmosphere while introducing a slightly brighter approach
– Relatively conventional songwriting, with elaborate arrangements frequently overshadowing the underlying compositions
– Familiar shoegaze structures and limited stylistic evolution despite the collaboration with A. G. Cook
– Understated vocal performances and insufficient emotional impact, reducing the memorability and replay value of several songs
Genre: Shoegaze
Country: US
Final Verdict: 66% (Good Album)
Yearly Ranking: 281th / 820
Highlight: Trillions
Made me think of:
Slowdive
Nothing
My Bloody Valentine
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