Messy yet intentional music is almost always a gem, all but guaranteeing raw emotional lyrics and inspired melodies that shake listeners to their core. It has all the intensity one craves from an improvised set, coupled with seamless production, wrapped in a nice bow of tasteful effects and powerful lyrics.

This perfect balance can be so hard to strike. But if you, dear reader, are hungry for a unique, unforgettable sound, look no further than the four-piece, Orange-County-born indie rock band Greer.

A touch of grunge, a little bit of surf rock and a lot of garage band energy: The boy band has an impeccably chaotic, yet controlled sound that remains exhilarating and refreshing even seven years after it debuted with its first single, “Song for Me.”

But after releasing two EPs — “Lullaby For You” and “Happy People” — the pinnacle of their artistry lies in their debut and only album, “Big Smile.” Released last year after a nearly four-year hiatus, Greer delivers a spectacular sonic experience that begs to be listened to in its entirety.

Unfortunately, they announced in August 2025 that the boys were breaking up and pursuing their own projects, but the work they created will surely stand the test of time.

Greer was named after the late Vine star Emma Greer DiBiase, who died in 2016 to alveolar rhabdomyosarcoma, a rare form of cancer, and was also dating the band’s drummer, Lucas Ovalle. Her influence on the band has been prominent since its early days, especially in “Lullaby For You,” a direct tribute to Greer DiBiase. However, the band’s emotional depth is never as prominent as it is on “Big Smile.”

While lead singles from the album like “Had Enough” and “Franken” are delectable on their own, “Big Smile’s” rowdy, otherworldly and boisterous chaos morphs into gloomy, remorseful and sulky order, which is impossible not to get wrapped up in.

“Big Smile” kicks off with “Omnibus,” which is a perfect opener, capturing the essence of the album with ease and introducing themes of grief and struggling to find purpose that are undeniably present throughout the band’s work. Starting with synth sounds, low piano notes and static and distorted vocals, a guitar-heavy pop-punk emerges as the dust settles, a reversal of how the album functions overall.

The track is also a great transition into “One in the Same,” one of the strongest tracks off the album, which features another great, energetic buildup. Refined distortion pedal effects on the heavy guitar shine in the chorus as lead singer and guitarist Josiah sings, “And the girl that I am and the boy that you are couldn’t meet for a day.” The track seamlessly segues into “Had Enough,” where the band shows its indie darling potential on this track with a radio-worthy chorus and chord progression.

While not the most groundbreaking track, “Miracle Fighting Red Baron” has an addictive bass and drum groove brought to life when paired with a guitar motif that never gets old. The almost nonsensical lyrics, “My Getter’s got laser guns in the palm of his hands” from the chorus seep with teenage angst and snarkiness that feel fitting to the band’s vibe.

As the exciting Act I of the album takes a turn into “Test Virgin Opposites,” a soft and tender side of the band is brought to center stage. The track is a frustrating story about clinging to youth as those around you give in to societal standards of maturing. This is made clear by lines like “Hey, it’s your wedding day, your 40 hours pay” clashing with the chorus: “Me, nowhere to be / No one to see them strafe all of your lies.”

Greer also showcases their songwriting skill near the tail end of “Big Smile,” especially on tracks like “Mugwump” and “She Knows.” These songs have an almost conversational feel to them, which is rewarding and fulfilling after a series of intense songs.

“She Knows,” in particular, feels heartfelt as Josiah sings a harrowing tale of not wanting to let someone go with piano and accompaniment and an elegant cello duet, adding a layer of sophistication to the track.

“audio_77” rounds out an album packed with intensity and creativity, as Josiah sings wistfully with only an acoustic guitar to score the song. The painful chorus, “Everytime I close the door at night / A part of me is on the other side,” ends the album with more of an exhale or a sigh than a bang, and it’s all the better for it, adding depth and sincerity to a project filled to the brim with color and character.

The masterclass that is “Big Smile” isn’t as easily found in the band’s earlier EPs, but they do feature incredibly catchy earworms like “Connect the Dots” and “Stay Clear,” which are worthy of becoming indie rock anthems. “Connect the Dots” especially has that special sauce and carries “Happy People.”

While it’s unlikely to see new Greer content in the foreseeable future, a loyal fan can only hope for the boys to reunite again. But, of course, in their own time, as they’ve proven that their music will always be worth the wait, if and when they decide to grace the world with their creations.

Aden Max Juarez is a sophomore writing about non-mainstream music in his column, “Underground Earworms,” which runs every other Thursday. He is also an Arts and Entertainment editor at the Daily Trojan.