{"id":156529,"date":"2026-04-28T15:51:41","date_gmt":"2026-04-28T19:51:41","guid":{"rendered":"https:\/\/panm360.com\/?post_type=records&p=156529"},"modified":"2026-04-28T15:51:44","modified_gmt":"2026-04-28T19:51:44","slug":"status-non-status-big-changes","status":"publish","type":"records","link":"https:\/\/panm360.com\/en\/records\/status-non-status-big-changes\/","title":{"rendered":"Status\/Non-Status – Big Changes"},"content":{"rendered":"\n

The sacred and the domestic have collapsed into the same room, and Status\/Non-Status’ record, Big Changes<\/em>, sounds exactly like that\u2014hymnal and mundane, enormous and whispered, like a jingle dress ringing out beneath a guitar that’s looking to eat the walls. On opener “At All,” a pounding drum shuffle makes way for a grungey guitar work. The track gets more and more shoegazey as the production and vocals sound more and more buzzy, like they’re being pushed through an air conditoner fan. <\/p>\n\n\n\n

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Sturgeon writes songs the way you’d describe a recurring dream\u2014precise about the feeling, loose about the details. “Peace Bomb,” adds more to a straightforward indie stadium rock vibe. The title track sinisterly circles something without naming it, a shifting and mutating spiral. What are the “Big Changes?” Personal, world, everything? <\/p>\n\n\n\n

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Julie Doiron appears on “Good Enough” and the song becomes briefly, devastatingly gentle before the drums really kick in. It kind of reminds me of Silversun Pickups mixed with Wilco.<\/p>\n\n\n\n

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On “Bones,”Sturgeon reaches backward through generations as a twinkling synth dances; the hand that reaches back is younger than his. “Bitumen Eyes,” all washed out, splits itself in two, as if a single version couldn’t contain what it needed to say. What Sturgeon has made with Big Changes<\/em> is a record about surviving the present tense and all the chaos that comes with it.<\/p>\n\n\n\n

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