In the early 2010s, Krill emerged out of Boston in a loosely mathy tangle of guitars and neuroses and became a cult sensation for a generation of budding indie rock fans. The band’s lifespan coincided with my late 20s and early 30s, and they came to my attention through my young millennial coworkers here at Stereogum, writers like James Rettig and Gabriela Tully Claymore who were about a decade behind me. After years of identifying as a young person, I was witnessing the rise of movements like Odd Future that felt like they belonged to the next generation. This was also the height of indie poptimism (SUCH GREAT HEIGHTS in stores now), and with each successive buzz band delving deeper into synthpop or R&B or experimental electronics, I didn’t even realize kids were still making scrappy, guitar-centric indie anymore. But my younger colleagues loved Krill, and that gave me hope for the future of the old-school indie rock that soundtracked my own high school and college years. I now realize that everything comes back around again — even Krill, apparently.
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