Wednesday – Bleeds

The rise to prominence of guitarist MJ Lenderman combined with the raw power of Rat Saw God—No Ripcord’s favourite album of 2023, no less—elevated Wednesday to indie rock’s top tier.

Writing about their breakthrough, I described the band’s unique sound as “a beguiling fusion of fuzzy Corgan-esque guitars, twisted Americana, shoegaze, and Southern rock.” While the same descriptors can equally be applied to Bleeds, the band’s sixth full-length release, its tone is entirely different.

Karly Hartzman’s lyrics have always melded colourful observations with personal confessions, but throughout Bleeds, the latter hint at a degree of friction. Of course, the source of this is hardly a mystery—Hartzman and guitarist MJ Lenderman ended their (romantic) relationship last year, prior to the recording of Bleeds. The impact of the break-up is palpable, even when it’s not explicitly referenced. In this way, although there is no sonic similarity, it reminds me of ABBA’s final album, their unsettling post-divorce masterpiece, The Visitors.

When you consider how significantly Lenderman’s star has risen over the last few years, it’s striking how peripheral he seems on Bleeds. There’s a strong temptation to dig into the psychodrama—to ponder the dynamics and the symbolism—but that feels inappropriately voyeuristic for a record review.

At its very best, Bleeds feels more accomplished than its predecessor. Not exactly polished, but certainly more accessible. Back in the ‘90s, some blowhards might have termed “Elderberry Wine” a sell-out move. Honestly, it’s just an exceptionally well-written song, highlighting Hartzman’s evolution and ambition. Just like Adrianne Lenker’s equally stunning “Sadness Is A Gift” from last year, “Elderberry Wine” sounds like an instant classic, with Hartzman demonstrating her ability to find magic in the everyday through lines like “angel hum of an electric car reverses towards me.”

Elsewhere, “Townies,” “Bitter Everyday,” and “Candy Breath” bring raucous guitars and satisfying hooks. At times, I’m reminded of the slacker vibe of Pavement circa Crooked Rain, Crooked Rain, if they perhaps respected Smashing Pumpkins a little more. Lots of bands echo Pavement, but so many of them sound joyless and studied, a charge you could never level at Wednesday.

The frustratingly subdued finale “Gary’s II” aside, the quality control on Bleeds is impressive, and its 36-minute run time is a welcome treat in an era where few artists seem to grasp that less can be more. Whether Bleeds marks the end of a nice run or the beginning of a legendary one remains to be seen, but for now, let’s just enjoy one of the stand-out releases of 2025.

Bleeds is out now via Dead Oceans.