Chicago Natives Friko Deliver A Cathartic Debut With ‘Where we’ve been, Where we go from here’

As an involuntary Chicago expat (*sobs quietly*) Friko’s debut album Where we’ve been, Where we go from here had me at the third line: “And the train was running through the window.” It’s such a specific and quintessential experience from living in the Windy City, that it can not only make any former resident miss it passionately, but also hints at how the songs on this record were written; vocalist and guitarist Niko Kapetan and drummer Bailey Minzenberger compose each song from a personal, truthful, and honest place.

The opening and title track, “Where We’ve Been,” already encapsulates everything the listener can experience throughout the nine-song compilation. It starts off soft and sweet, with folky touches and captivating melodies, the type of production that reminds me of artists like The Backseat Lovers and even some of Adam Melchor. But as you cross the two-minute mark of the song, it all seems to erupt. Rather disorientingly, the track grows sonically, as both the vocals and instruments bring out a vigorous sense of urgency. But it never becomes harsh enough to feel out of place or plain out wrong, and it’s also nothing compared to some of what follows.

“Crimson To Chrome” is already a little rockier, resembling Phoebe Bridgers’ (and subsequently boygenius’) distinctive sound. Kapetan’s voice becomes sharper but just as sentimental and emotive, as he sings about feeling like it’s time to give up but simultaneously being incapable of doing so. Five years into their career as a band, Niko and Bailey are finally coming out of the industry trenches and finding their place and pace, and though it wasn’t always an easy journey, it seems to be worth it. “I’m tired, but hey, I’m on fire.”

A more abrasive approach can be heard in tracks three and five; “Crashing Through” starts out explosive but is then followed by some velvety vocals that sound very much like fellow Chicago-native Djo, although the guitars continue to add a certain level of dissonance. Niko anxiously sings the words out, “I haven’t done what I came to do, no, I haven’t said what I mean to say, haven’t done what I mean to do,” transmitting every bit of despair he seems to be holding inside. Coming in even louder, “Chemical” is musically blaring, but it’s also the first time the melody stays in a condensed space. Bailey perfectly describes it as “being a kid and riding your bike really fast—this childlike adrenaline where you’re very much in your body.”

On the opposite side of the spectrum, “For Ella” is a delicate and soft song, the duo’s “ode to classical music.” Although contrasting with the other tumultuous music in the album, it still perfectly aligns with the project as a whole. It’s mellow and significantly quiet, but holds the same sense of desperation in the way the melody moves. It even ends on a big question mark, like it shouldn’t be done just yet. Evoking a similar stroke of innocence, “Until I’m With You Again” is tender and innocent. Niko’s voice is barely hitting the right notes, adding onto the vulnerability that comes with missing someone and hoping that they will find their way back to us. It’s kind of depressing but also invigorating: hopeful in a fearful way.

My two favorite songs from the album seem to find themselves in the middle of the quiet and the chaos. “Statues” is a shoegaze-y track that jumps out among the rest and to me seems the most different one. It also made me happy because that means that they are still doing whatever they want with their music, not always painting inside the lines: actively experimenting with their sound. Plus it references Chicago’s iconic L train again. “Get Numb To It!” is another upbeat song in the album, and you can tell it’s the kind of song that will work best when performed live, with the audience screaming the words back to them. The lyrics follow the same, partly cynical theme that the rest of Where we’ve been, Where we go from here does: “And it doesn’t get better, it just gets twice as bad, because you let it, so you better get numb to it,” but it sounds cozier, with a final reprise sounding like a group of friends at a bonfire.

“Cardinal,” the closing track, is a good ending for this trip. It’s cute although still sad, as the singer addresses himself: “Niko, where’s your fight now?” The intimate and unique touch in these details make even more sense when you think about how all of these songs were actually written and recorded before Friko signed a record deal. It also explains the more organic and handcrafted aspects of it; Kapetan’s voice is raw from beginning to end, getting shaky and broken at times, as he puts all his feelings and sorrows on the line.

The fact that a very much DIY project has already caught the eye of people at Pitchfork and Alternative Press says so much about Niko and Bailey’s capabilities and talent, and paves the way for so much more to come in their careers. With that in mind, I think it’s more than fair to say that this is only the start of the beginning of a potential powerhouse band in the indie rock scene.

Where we’ve been, Where we go from here is out now.