Words by Veronica Anaya; Photography by Elissa Mentesana; Music Video by Trillium Bentley
Double Standard does it again. And I do not think they intend to stop! The band released their third single, “To Maine,” in late February followed (quite logically) by their fourth single, “nvr c u again,” in late March plus announced their upcoming debut EP. But I want to go back and shine a light on their third single and its role in further establishing/expanding their image and sound.
But first: Double Standard is a New York City-based queer-indie girl band consisting of members Lydia Eberling (vox), Siena Chanel (vox and guitar), Lauren Dinhofer (lead guitar), Zoe Arora (bass), and Meg Cournoyer (drums) who have grown immensely in the short span of time since they started in early 2024. Since then, they’ve played shows at numerous venues, put out four singles with an EP on its way (available on 4/25, pre-save here) and three music videos saturated in beautiful imagery, all directed by Trillium Bentley.
I wanted to bring a spotlight to this song because it diverges from the sounds of their previous singles, “Sweat” and “Crush,” songs that differ from each other as well. “Crush” is this infectious indie pop-rock song relatable to anyone who’s ever had a crush [Editor’s note: So…to everyone!] and then following that same catchy energy, “Sweat” takes it up a notch with a faster tempo and more yearning, though to be fair, all their songs capture this strong sense of yearning but through different lenses, from a crush to a night out to their newest release, “To Maine,” whose yearning is cast in the glow of sadness and grief from a past relationship.
“To Maine” draws its power equally from lead singer/songwriter Lydia Eberling’s gift for lyricism, and the layers of instrumental textures provided by her bandmates who create the perfect atmosphere of nostalgia and longing for its themes (ditto the whimsical yet moody music video) bringing this story of heartache and memory to life. Starting with intertwining drums and bass that live together and stays consistent through the song up to its climax, the song evokes both melancholia and warmth mixed with the eeriness that comes when memories arise.
As the song evolves, the story emerges of a past relationship that did not flourish to its best potential, taking time to reminisce while unfolding more truth about the love she felt: “We stayed up to four am playing board games on my floor / I never told you that’s still my favorite day.” Although playing board games seems small, it’s these small moments that can matter the most and by highlighting them, Eberling demonstrates the care she has for him.
Then the song dives into a section that thrives off the ambience of the instruments, with drums and bass creating a sultry, raw basis for the guitars to build on and further bolster the angst on display in lyrical form, complementing one another. This interaction between lyrics and instrumentals is what defines the sound of this song, and how it captures the emotions coming from the story, thus setting “To Maine” apart even if “Sweat” and “Crush” similarly live within the atmosphere created by the stories they tell.
As the song continues to unravel the deeper feelings between Lydia and her erstwhile partner (“He said, ‘I’ve got a mind you’d like to love inside.’ I said, ‘Why, it’s not that nice.’ You said, ‘I’m sure it’s lovely ’cause it’s me.”) it further showcases the dynamic between the two; having many conversations where she has opened up to him and let him see more of her. Yet, the following line, “You think I’m lovely,” shows how they have not talked about their feelings for one another; they exist but are still unaware of what the other truly feels, further seen in the pre-chorus, “I’ll follow you to Maine / Straight to outer space / In case I never say it.” She would follow him anywhere, but she has yet to tell him that, speaking volumes about how much is still left unsaid between them.
Diving even deeper, suddenly the narrator realizes this is the first time she’s been “chosen first” which must only make her emotions stronger and more complicated, a mix of angst and desire only reinforced as the song steadily builds to a crescendo as the song finds its way to the climax, but one shadowed by doubt because so much has been shared between the two and she wants to know, “is it a sure thing?” and as she’s pleading and wondering, the drums and guitars continue to build before exploding into a confession that as much as it terrifies her to feel this way, she feels comfort and ease with him (“I hate most everything but you“) and wants to see where the connection can go, but hates how much she has to let her guard down as it places her in a vulnerable state. [Editor’s note: ain’t that always the way!]
Ultimately, as the song concludes, her past self is left questioning. Yet as time has passed, and this is a memory, her future self knows what has happened since. The musical backing and even the vocal harmonies fade away, leaving Lydia’s voice stripped bare, ending in silence. Lydia is left to process those emotions on her own, and the memory of their connection, as the structured chaos and anguish of the song continue to reverberate.
[Editor’s note: And you can catch Double Standard continuing to reverberate live at their upcoming EP release party later this month, Saturday night, April 26th on the very cool stage of LES hotspot NUBLU with special guest Talon.]
In conclusion: Double Standard understands their vision, sound, and the messages/stories it wants to spread because they connect with it and want others to feel it as well, whether they have experienced it before or not. The band opens up a space for their audience to feel, making their music and live shows cathartic. They are just at the beginning of their career as a band, and it’s exciting to imagine what more will come from them!
Video Credits: Director: Trillium Bentley Producers: Trillium Bentley & Katie Olivero DOP: Pablo Freese-Fernandez Gaffer: Julian Baker and Kathryn Marie Production Design: Lydia Eberling Stylist: Emi Lahrssen Editor: Trillium Bentley Graphics: Trillium Bentley and Kurt Cavan BTS: Elissa Mentesana Special thanks to: Ondine Finley and Matthew Melhert Song Credits: Produced by Ayad Al-Adhamy at Diamond City Studio & assisted by Craig Almquist Recording & Mix Engineer: Carl Bespolka Mastered by Dan Millice Written by Lydia Eberling