By Jenell Taylor, Columns, Features Editor

[tapewormies; 2025]

Rating: 6/10

Key Tracks: “SAX-A-MA-PHONE VAR. XII,” “SPANISH ARMADA VAR. XV,” “BARUCH ATTA (IN THE MIDDLE SONG) VAR. XVI”

It’s been 8 months since indie rock band Frog released an album titled 1000 Variations on the Same Song. Now they are back with a message titled The Count, set to release on September 19. Led by Daniel Bateman (vocals, guitar), and supported by his brother Steve Bateman (drums) as well as Thomas White (bass), Frog has been making DIY folk-inspired rock music from NY since 2012. This is the kind of music you hear at house parties, DIY pop-ups or alone on your introspective evening walk home. With this record, Frog invites us to join them in collective reminiscing and ruminating this coming autumn.

The record starts off strongly, with a single titled “BITTEN BY MY LOVE VAR. XI.” Immediately organ-heavy, this track sets the tone for the rest of the album. Bateman sings in a rather wistful cadence: “You told me you would walk my way/ You’re a different girl.” Utilizing vocal flips and yodel-like drawl, Bateman begins the album tenderly, intent on serenading listeners who may also be experiencing heartache. This track clocks at exactly 6 minutes in length, making it the longest on the album. Although it meanders slightly, “BITTEN BY MY LOVE VAR. XI” redeems itself right at the end with a lovely piano outro. 

Read more: Single Review: Gurriers – “Erasure”

The Count weaves themes of love and loss throughout its tracks, tugging on heartstrings with each gentle tap of the piano and every intentional cymbal crash. Bateman sings of missing past lovers and the disillusionment that comes with the severing of ties set to an almost liturgical instrumental background. The sixth track, “BARUCH ATTA (IN THE MIDDLE SONG) VAR. XI” features part of the Hebrew phrase “Baruch Atah Adonai,” which translates to “Blessed are you, Lord.” Following that sanctimonious opening, Bateman enters with booming vocals, and is juxtaposed by the most gorgeous chord progression of the record.   

The album’s closer is a melancholic track titled “WITH ANOTHER GUY VAR. XX.” The second longest song on the album at 4:07, Bateman leaves us with a dissonant love letter to yearners everywhere. He sings in a high register and mentions wanting to be seen and held, feelings that are not unique to him. He sings: “You have no idea what kind of thoughts have been going through my head there,” which is a sentiment that many can find themselves relating to. “WITH ANOTHER GUY VAR. XX,” ties up loose ends and leaves listeners with hopeful longing. Sonically, this track differs the most from the others due to its softer nature and stripped vocals. Its main component is the piano, which has remained a constant throughout. 

The inclusion of piano on each track is a key aspect of The Count that sets it apart from other records of the same genre. Its interpretation is intentional and precise, giving it a cohesive theme. Aside from this, there is not much variation track by track. Bateman sings of roughly the same ideas in each song, noting his bruised ego and feelings of being a lover scorned. At times, Bateman sings in a silly tone, offset by astonishingly beautiful instrumentals. It tells us that even if you might be toiling with a troubled heart, that still, in the darkest of places you can find joy. Bateman wants us to look inward with this record and not shy away from uncomfortable emotions. In fact, it’s in that discomfort where we might begin to heal our wounds and find beauty in suffering.