“Doppelgänger feels like looking in the mirror a little too long — familiar at first, then quietly unsettling.”
Valley Taylor doesn’t rush anything on this record, and that’s exactly why it works. Doppelgänger is slow, careful, and very deliberate. It leans into space instead of trying to fill it. From the first track, you can feel that this is not about big moments. It’s about small shifts, quiet thoughts, and the feeling of being alone with your own mind.
“End Of The World” sets the tone in a strong way. It feels fragile, almost like it could fall apart at any second, but that’s the point. The vocals sit close, almost blending into the background, while the instruments move gently around them. Nothing is forced. The emotion comes through because it’s held back, not pushed forward. “Anyways” and “Haunt You” continue in that same space, but with slight changes in texture. There’s a lot of repetition, but it never feels lazy. It feels intentional, like the songs are circling the same thoughts from different angles. “Haunt You” especially sticks with you. There’s a ghostlike quality to it, not just in the lyrics but in how the sound is layered. “Laika” and “Twinning” open things up a bit. They feel a little wider, but still distant. The production plays a big role here. You can hear the different recording environments, and instead of sounding messy, it adds character. It makes everything feel real and unpolished in a good way.
One of the most interesting moments comes with “Everybody Want’s To Go To Heaven But Me.” The title alone pulls you in, but the song keeps things restrained. It doesn’t try to match the weight of its name with something dramatic. It stays quiet, which somehow makes it hit harder. “Spring” and “Shellback” feel like transitions. They sit in between moods, not fully resolving anything. That sense of being in-between runs through the whole album. Then there’s “Lightyear.” It’s one of the more expansive tracks, but it still keeps that distance. Layers build, sounds repeat, and there’s a slight tension underneath it all. It feels like stepping back and looking at everything from far away. What makes Doppelgänger stand out is its honesty. It doesn’t try to clean up its edges. The imperfections stay in place, and they add to the feeling. The album doesn’t give you clear answers. It sits with the questions. And if you’re willing to sit with it too, it leaves a lasting impression.
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