sunday works – Blue Kisses and the Greenest Green
sunday works is an experimental indie duo from New York, consisting of Lizzie Ferrell and Jackie Simons. With “Blue Kisses and the Greenest Green” they present their most layered and considered work to date, an EP born from a collaboration with acclaimed composer and arranger Megan Carnes. Five of the seven tracks are reimaginings of earlier material, filtered through Carnes’ cinematic compositional style. The result is a record that feels less like a collection of songs and more like a coherent sound world.
The EP occupies a space between dream pop, art pop and experimental indie, with a production built on layered synth tones, subtle rhythmic pulses and organic instrumental accents that lend the songs a handcrafted warmth. Carnes brings her experience as a film composer into the mix: each track feels purposeful, like a scene in an unfolding film. That approach fits seamlessly with the aesthetic of sunday works, which has long balanced mysticism, shoegaze textures and influences drawn from French art pop.
Much of the record’s identity lies in its patience. sunday works deliberately avoids dramatic climaxes or abrupt turns, building emotional weight instead through gradual shifts in tone and texture. This is music that asks for attention and stillness, and repays both generously.
The strongest moments are found at the opening of the EP. “Softly (Megan Carnes Version)” opens with whispering layers: delicate textures that bloom like distant memories surfacing, while the vocalist carries the emotional charge of the lyrics with a fragile but assured presence. “Clouds (Megan Carnes Version)” deepens the effect with flute passages and soft synth chords woven through the arrangement. Here the balance between ambience and melodic clarity is at its most tangible, without ever breaking the dreamy mood. Both tracks are among the most accessible on the record and serve as a natural entry point for new listeners.
Further into the tracklist, the EP reveals its broader palette. “Red Dogs Run (Megan Carnes Version)” carries an airy and expansive character, while “Turned to Gloss (Megan Carnes Version)” concentrates on harmonic architecture and atmosphere. “Breaking Glass (Megan Carnes Version)” leans toward industrial textures and subtly abrasive sonic elements, offering a darker edge within the otherwise pastoral landscape of the EP. It is a bold choice that momentarily unsettles the listener, and does so deliberately.
“Sword in My Belly” is minimalist and vivid, placing the narrative almost entirely in the hands of the vocalist. Sparse synth textures form the backdrop until hard guitar chords break through near the end, adding emotional urgency and dynamic contrast. It is the most unexpected moment on the record, and for that reason, one of the most memorable.
The only limitation of “Blue Kisses and the Greenest Green” is its own restraint. The EP rewards patience, but for listeners less accustomed to experimental indie listening habits, the absence of immediate hooks or clear climactic moments may prove a barrier. The fact that five of the seven tracks are reworkings of existing material also raises the question of how much space remains for genuinely new composition within this project.
That said, this is a collaboration that achieves what it sets out to do. sunday works and Megan Carnes together create an EP that is modest in scale but expansive in imagination. “Blue Kisses and the Greenest Green” is recommended for listeners who appreciate Grouper, Julia Holter or early Beach House. (7/10) (sunday works)
