Chappaqua Wrestling sprinkle hints of existentialism across their Britpop sound on Plus Ultra

Lots of the band's sound could nestle into the timeline at any point of the 90s, but the biggest factor that nudges them into Britpop is a non-musical, intangible vibe that permeates Plus Ultra; and it is confidence. Chappaqua Wrestling swagger out into their debut album on “Full Round Table” radiating self-assurance: the reverberating bass, the festival-headliner melodies, the familiar shimmy of the tambourine. It’s a good song made great by the fact that they deliver it as if it’s an anthem already beloved by millions, soundtracking the ages (with self-awareness that their counterparts from the 90s didn’t have at the time).

From there, the group are a little more subtle, but always convinced of their own cool without flaunting it too much. It really sounds like this is a gang making music that sounds like music they’d love to listen to, which is fitting considering their band name came from the title of their collective Spotify recs playlist. Whether it’s the dynamism of bigger, bouncier tunes like “Wayfinding,” which could be the blueprint for Manchester-adoptee sound nailed by the likes of DMA’s, or the more contemporary, mellow pulse of “Not In Love,” or the folksy nod to their Americana roots in subtle, truly gorgeous closer “Can I Trick,” Chappaqua Wrestling perform every note with complete conviction, and it’s infectious.

Tucked away in the lyrics of Plus Ultra, though, is a bit of 2023 for us, grounding Chappaqua and their timelessness-striving sound right in the present day. There have certainly been points in history that have been as tumultuous as now, but at the moment the mood towards the future isn’t always the indignation or fire towards specifics as it was back in the day, and is characterised more by a gloomy sort of fatalism. Single “Wide Asleep” set us up well on this path for Plus Ultra, an attempt at a wake-up call from the stupor of social media with a chorus that can’t help but be rousing. Elsewhere on the record, Chappaqua verge into different political territories, but their approach puts the troubles of life into a guitar-riff, belt-along sort of package that somewhat disguises their severity. It’s apt, and just about ironic enough.

The core of the album, for all its cultural commentary and musical relevancies, is just a solid guitar-indie foundation. Chappaqua Wrestling don’t just have a solid foundation, their indie-rock creds feel as secure as a nuclear bunker on Plus Ultra. It’s a strong, exciting base from which they’ll no doubt go on to build.