The sensual cover art for Baby Boys’ debut full-length record, Threesome (released March 12 via Grand Jury), practically predestined it to be a wild ride. More than that, though, it somehow perfectly encapsulates the relationship between the three musicians that compose the group: the collaborative camaraderie amidst them is palpable through their work, to the extent that it’s almost as if they’re one unit, sharing the mic.
The Saint Paul, MN-based trio — composed of multi-instrumentalists/producers Caleb Hinz (The Happy People), Jake Luppen (Hippo Campus, Lupin), and Nathan Stocker (Hippo Campus, brotherkenzie) — initially made their debut with a single called “Kinky Toe” back in 2019, followed shortly thereafter with I’m Set, a synth-infused EP that distorts not only genre, but also expectations. Recently, aside from expending energy on their own efforts, the three musicians leant their producing talents to two standout 2020 releases, Samia’s The Baby and Miloe’s Greenhouse EP. As their first handful of releases and production credits give way to, Baby Boys aren’t afraid to play around with vocal levels and instrumental non-conformities, nor to implement rugged textures and layers to their sonic concoctions. With approaching their own official debut this past year, the boys kept the same mentality, too, as they took up residency at their friend BJ Burton’s Minneapolis studio. This period marked the first time that they would have a professional studio totally at their disposal, and so, they didn’t hold back an inch. As a result, Threesome is the product of their three minds going at warp-speed, totally un-contained.
Throughout Threesome, Baby Boys build massive sonic landscapes with soaring electronics and catchy melodies, giving way to their talent as songwriters, producers, and musicians, in addition to their knack for innovative techniques. For example, “Duke and The Cash” might be one of the album’s more infectious moments, and songs such as “Flower,” “Bum Ving Gatti,” and “Maggot Water” take pulsing beats, hand-claps, and synths and mesh them with distorted vocals and voice memo snippets, positioning them somewhere between club anthems and an indie-leaning masterpieces. “Backgammon,” on the other hand is more subdued, but still retains the generally enticing air of the whole release — consisting of a backbone of soft-spoken vocals and twinkling keys, it offers a new side to this multifaceted album. At the close, “Shorty” chimes in with all-consuming fuzz, sweeping riffs, and whispered vocals; as it fades, you’re left with silence as you come back from Baby Boys’ world.
While listening to everything in full, I pictured this analogy: when creating their debut, it was as if Baby Boys went into their local sandwich shop, weren’t sure what exactly they wanted to get, and thus, threw a random combination of meats, cheeses, veggies, and condiments that they each liked onto one sub for the three of them. Despite the chaos of it all — given the fact that this sandwich had three different taste palettes at play — the final product still somehow tasted good. Baby Boys’ instincts, their ideas, and their ethos as a group just work, and what they make can really satiate one’s hunger.
Holistically, Threesome is an enjoyable listen, albeit one that gets you to think, too. Its share of trippy sonic influences and experimentation perk one’s ears up, while its toe-tapping hooks and fairytale-esque narratives keep you tuned in. As an added bonus, the record is also undeniably goofy in nature, as is much of what surrounds Baby Boys in general — their press shots are silly but endearing (take their human centipede-style posed shot, for example), their songs have whimsical titles and weave tall tales, and they called on Buff Correll to help make the music video for “Duke and the Cash.” All-in-all, it’s clear that the group have fun with one another, and truly enjoy working together — a conclusion that’s even more apparent in the material they create — which makes Threesome even more satisfying to listen to. This record is an ode to their brotherhood and their untethered connection as creatives, and it’s amazing to see that bond in action.