Born in California, New York-based singer/songwriter and guitarist Shana Falana spent time in San Francisco‘s D.I.Y. scene and and in a Bulgarian women’s choir before relocating to New York. By 2006, Falana had been struggling through drug addiction and money woes when she lost part of her index finger in a work-related accident. And while under most normal circumstances that might be considered extremely unlucky, the settlement money the California-born, New York-based singer/songwriter received actually provided her a period of financial stability that allowed her the much needed time and space she needed to overcome her addictions and find a new focus in her life and music. Reportedly, much of the music on Falana’s much-anticipated second full-length effort Here Comes the Wave was conceptualized both during one of the most difficult periods of her life and in the subsequent years that followed, and has been continually refined — and as a result, the album manages to thematically be centered around the duality of “then and now,” while sonically covering diverse moods and possessing elements of shoegaze, gothic pop and indie rock. Of course, thematically speaking the material focuses on change, transformation and emotional turmoil; in fact as Falana says in press notes ““Somehow, I knew those songs would serve me well later,” and at least one of Here Comes the Wave‘s songs reportedly foreshadows its creator’s eventual sobriety while other songs reportedly accept the passing of youth, the death of her father and other themes that come up as one gets older.
Interestingly, Here Comes the Wave also manages to be the second collaboration with producer D. James Goodwin, best known for his work with Bob Weir, Whitney and Kevin Morby and with her long-time partner, collaborator and drummer Mike Amari. And the album has Goodwin and Amari playing much larger roles than on Falana’s debut as the collaborative trio went for audacious sounds and heightened moments — and for being bold as possible. The album’s first single “Lie 2 Me” has Falana and Amari pairing enormous and buzzing power chord-heavy riffs and thunderous drumming with Falana’s anguished howls before ending with an explosive blast of feedback before slowly fading out. Lyrically, the song is full of bitter recrimination, accusation, self-doubt, self-flagellation and dysfunction –and as a result, the song feels bilious and fucked up while sonically nodding at L7, PJ Harvey and others.