Across the music community, there are two things that rarely pay off: hype and supergroups.

Hype over a band often overshadows the actual output of the project, while the work of most supergroups fails to capitalize on the combined efforts of the members involved.

But luckily, there are exceptions to every rule. Springtime and Blind, the debut LP from Fiddlehead (feat. members of Have Heart and Basement) eschews every ounce of speculation directed its way and delivers one of the most heartfelt, teeth-kicking albums in years.

Judging by their other projects, Fiddlehead’s sonic palette is pretty easy to anticipate. Angular, melodic guitars clash chords against sung-shouted vocals, shifting from blistering riffs to laid back, almost cheerful singalongs. What isn’t easy to anticipate is just how well it pays off.

And while these ten tracks clock in just over the twenty-five minute mark, every second of that is ruthlessly emotive, passion-packed, and catchy as all get out.

“Spousal Loss” opens the record like a thesis statement. Jagged major chords and shouted vocals kick things off with a relatively laid back tempo, but what it lacks in tempo, it more than makes up for in impact. After a couple minutes, it quiets down and turning minor before launching into a melodic, morose gang vocal section.

Throughout the record, they continue to explore these poles. “Poem You” pairs frantic, riffy choruses with quieter verses. “USMA” could almost pass for a feel-good summer anthem…if you ignore the lyrics that mourn a loved one who died in the military. “Lay Low” drives with an aggressive, angular energy and catchy vocal interplay, begging for both a mosh pit and a singalong. “Head Hands” rides a slow tempo with near-shoegaze guitars, leaning a little closer to Basement, but with rougher vocals. “Rejoice” and “4/17/10” are near instrumentals, eschewing vocals in favor of sampled dialogue (barring the lyrics “Rejoice, but for how long?” at the very end of the former).

As much as I’ve listened to this album on repeat the last few weeks, it’s still a little hard for me to articulate just what exactly makes it so damn good. It combines elements of hardcore, emo, and grunge in a way that hits every button without ever sounding like its leaning into its influences too heavily (they even have an artist-curated influence playlist on their Spotify page, so they’re not exactly shy about it). In a time where so many bands are capitalizing on sonic nostalgia or genre alchemy as an ends to itself, Fiddlehead sounds wholly fresh, and endlessly repeatable.