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In February 2024, just shy of the tenth anniversary of Alvvays' self-titled debut, it's second song and single, InchArchie, Marry Me,Inch reached a rarified threshold for our streaming age-one-hundred million listens through a single . For the world's biggest pop stars that's an average achievement, but for an upstart indie rock band then writing in a backroad farmhouse on a Canadian island, it represented a staggering proof of connection and widespread resonance. Makes sense, after all InchArchie, Marry MeInch is a softly stinging, pointedly funny portrait of a common end-of-youth predicament-to wed or not to wed, to involve the state and the possibility of financial ruin when you're already saddled with student loans and just trying to survive. Instantly relatable, it is an anthem about prescribed social expectations and delighting, however noncommittally, in outcast status. Now remastered and reissued with deep cut InchUnderneath UsInch to mark a glorious decade of deadpan jangle, Alvvays feels that way from end to end-literally, from the opening stalking-you-with-love anthem InchAdult DiversionInch to the ennui escapism of sci-fi closer InchRed Planet.Inch In a little more than 30 minutes, Alvvays give us a song about loving someone to actual death (InchNext of KinInch), how keeping secrets will destroy what you think you want (InchThe Agency GroupInch), and another incisive song about the societal demands of love and marriage (InchAtop a CakeInch). When Molly Rankin, Alec O'Hanley, Kerri MacLellan, and Brian Murphy cut these songs with Chad VanGaalen in 2013, long before they had a record deal, they were, in fact, young adults trying to figure out these encroaching exigencies for themselves. Again, these problems don't age; some of us just happen to be lucky enough to age out of them.Little of this would matter if the songs themselves didn't stick, if the melod
