Susannah Joffe’s newest EP, Cult Leader, is full of Americana inspired pop ballads and represents the lengths that love and heartbreak brings us to. Susannah Joffe is a singer-songwriter originally from Austin, Texas. She has had recent success on social media, particularly with the song, “Die Your Daughter”, which was on her last EP, Your Mother’s Name. But, Joffe has taken a new look on life on Cult Leader, and it’s full of spite, lovelust, heartbreak, and reflection.
The EP’s title track, “Cult Leader”, sets up the theme as Joffe plays spacey pop with a dark country twang. Joffe’s airy vocals sing about americana ideals and tropes while she professes her love-hatred for an ex-lover and his new flame.
As she sings about her confidence in her superiority, a deep jealousy underlies within her words and sets up a complex narrative of love and the inability to move on. Joffe’s vocals are the shining star of this track as her voice ebbs and flows throughout the verses and chorus (reminiscent of Lana Del Rey), and the instrumentals take the backseat to fully allow Joffe to have her moment.
“Antler Queen” keeps up the spaciness that is a mainstay throughout the EP, moving further away from country influence. It’s a bittersweet romance ballad that explores unrequited love and yet again the struggle to move on. The chorus is infectious with a driving drum beat and Joffe’s love proclamations such as, “I’ll shoot you up, Get high on reluctant love.”
The instrumentals on “Antler Queen” are extremely chill with sweet guitars and a stable percussion section to pick up the chorus. As she concludes the song, she reinforces her love’s bittersweetness as she says, “I pledge my heart to you my antler queen.”
“You’d Kill Me If You Could” is a stripped back ballad that sonically serves as a break in the EP’s sound and leans into a 90’s sound. Joffe has given up the loud emotions present in the previous two tracks, and has become sorrowful and reflective. The heartbreaking lyrics portray a harmful relationship and her dealing with the emotional aftermath.
The echoey vocals, acoustic guitars and stripped back percussion, make the song feel like it could’ve been written 30 years ago. Bright synths work with Joffe in the bridge, as she repeats, “Like mother, like daughter.” The phrase is almost a mantra, increasing in intensity the more Joffe says it, and deepens the song’s meaning when you consider the cycle of abuse and what people pass down with them.
“Shit Out Of Luck” is a hazy heartbroken ballad that speaks to unfulfillment and unresolved promises. It is threatening, vengeful and passionate, as she sings, “I’ve got passion and I’ve got a gun.” Electric guitars squeal in the background and Joffe employs a strong percussion section yet again. Joffe’s vocals are the shining star on this track as she uses layered harmonizations to sing words of spite and biblical musings.
“Sofia Coppola” went mildly viral on social media and is a bright lesbian pop power ballad. The song is flirty and full of lust and unabashed attraction. The prechorus is infectious and feels almost like a nursery rhyme, which leads into the double infectious chorus in which she professes, “Idolize you, My Sofia Coppola.”
The bridge is wonderfully layered and Joffe’s vocal capability is put right on display in this track. “Sofia Coppola” is a gorgeous listening experience and uses a blend of strings, synths and percussion, which culminates into a twinkly and magical song about bright eyed love and attraction.
Joffe leans into another consistent trope present on the EP as she writes about a love-hate relationship in “Call Me Pretty.” It’s a complicated dynamic of wanting to both be devalued but cherished as she sings, “I’m your dog and nothing more.” It’s a casual relationship gone wrong, as she invests more than her lover. Her breathy vocals in contrast to the heavy electric guitars build power and tension in the song. The guitars aid Joffe in relaying the final rendition of the chorus and concludes the heartbreakingly honest and self deprecating track.
The EP finishes off strong with the final two tracks, “Stillborns and Six Lane Highways” and “Horses Can’t Outrun Me.” “Stillborns” discusses biblical conflict and terror, as she speaks directly to the people that peddle hate singing, “Heaven hates you” repeatedly. The melodic guitars backing instrumentals are stunning as the beat uplifts the depressive nature of the song. Her echoey and hazy vocals blend amazingly and the rich instrumentals coupled with the lyrics behind create a complex and enjoyable listening experience.
“Horses Can’t Outrun Me” is an excellent end to the EP and is a highlight of the tracklist. Joffe’s bright vocals begin the song as she sings the chorus. A deep electronic bass beat is introduced as she sings of feeling freed of a suffocating relationship and environment. She strips it down and speaks in the pre chorus and then dives into her airy vocals once again.
There is a deep, radical sense of freedom as the lightness of her vocals and the bright guitars, keys and drum beats feed into the energy of the song. As Joffe sings, “Heaven’s where you can’t reach” she ties all of the themes on the EP into one reflecting upon freedom, religious ideation, relationship issues, love, and heartbreak. We are allowed the opportunity to watch Joffe grieve, grow, and change, as we watch her learn and reflect upon her experiences and heartbreak.
It’s an exciting high to leave off on and leaves us wondering what will Joffe take on next in her musical journey? Cult Leader asks a lot and leaves behind very little, as Joffe proves her vocal and musical capabilities and has created a piece of work that is sonically and narratively consistent and clean.
Amid all the noise of a party back in 2022, the magnetism between two dreaming musicians, Marcus Gebauer and Jori Griffith, was too powerful to deny. The beauty of their meeting created a gradual collaboration which allowed them both to pursue their dreams. With the help of Mike Gruber on keyboard, Nicholas Kapche on bass, and Eric Matteson on drums, Blue Rose has brought us their debut album Blue Moon, released on May 30.
Blue Moon is a 12-track twister of folk, country, and rock. Filled with short and simple tales that take their time unraveling, we are reminded to slow down and stay in the present to enjoy things like seeing a local band or looking up at the sunset. Besides its relatability, this album evokes a keen sense of nostalgia for watching Hallmark movies with mom, or sitting by the fireplace on winter break. Our storytellers are Griffith’s vocals ranging from nasal croon to edgy twang, complementing Gebauer’s smooth yet gritty guitar from beginning to end. Both are certainly talented, but are far from finished finding the right sound.
“If I Had a Rose” is a cover of a 2019 duet sung by Bruce Robison and Kelly Willis. This is a clever way of introducing Blue Rose to the world, demonstrating their influences and style. However, this rendition is almost too smooth, as syllables stretch for miles in just one direction, taking away some of the rough country character of the original.
Leaning more into rock territory is track 2: “Let Me Love You”. The guitar on this one is electric and exciting, but Griffith’s vocals are out of a commercial jingle, complete with cliche ridden lyrics like “the blue sky’s so bright”. While the song is a fun one, it lacks depth.
“Let’s See a Band” has beautiful hints of Fleetwood Mac. Griffith’s crooning makes for an emotional listening experience that traps you in your seat. Sadly, the trance is broken upon hearing the overly simple chorus. This was a missed opportunity for a really powerful track as the music itself was near perfect.
Griffith brings the bluesy country feelings with “I’m So Tired”. This song is the most experimental track by far. Even though Griffith doesn’t sell her fatigue to the listener, she compensates by adding an intriguing muffled effect in the middle of the song. The lack of crispness adds a layer to the unfortunate message of the song overlaying the upbeat backing music.
Even sadder is country ballad “Remember When”, a generic, yet beautiful movie-worthy tune. Griffith makes ample use of scenic description, slowly and impressively planting a memory into the listener that they may never have experienced. “Remember when we thought we’d never die” is what I find to be the best lyric on this album.
Halfway through the album is title track “Blue Moon” which also serves as a theme song for this duo’s fateful relationship. The song really captures the continuing simple yet easily forgotten message of appreciating small moments. This one is somewhat of an evolution as it shies away from the cliched, and presents a better harmony between each element of the song. The changing layers of instruments parallel spectacularly with the repeated line “once in a blue moon”, developing a sense that time is changing.
“Life is Short” feels like the best of Taylor Swift’s early era. This is a true love song with a rare inclusion of multiple perspectives. Simple and sweet, Griffith skips the pettiness and gets down to what matters. While some lyrics are executed awkwardly, it’s easy to ignore.
“Somethin’ Good” is more relevant and relatable than ever, but not unique in any sense. Taking a page out of the rule book for new pop music, this song throws out short statements of feeling in a diary-like fashion. This song becomes more of an anthem.
Anything but slow is “Slow”. Although still a bit too smooth and commercialized, Griffith’s vocals are really special in this one, grounding the listener in the moment she is expanding upon. While it’s easy to tell this song is new, her voice is timeless.
The first few notes of “Dandelions” mistakenly had me thinking I was listening to a Jim Croce guitar riff. Griffith continues to use the same easy phrases like “above the clouds the sun still shines so bright”, but the way she changes her tone as she repeats them makes them more profound. This song truly sounds like a country poem.
“Just Like Sheryl” is my favorite track on the album. This song is different from all the others, serving as an origin story for Griffith with descriptions of her childhood muses Shania Twain and Sheryl Crow. The way she references their hit songs is cleverly interwoven with her own lyrics, humanizing the nearly anonymous soul we are listening to.
“Sometimes” is the final track on the album, contrasting the previous song as it represents Griffith’s quiet side. The final message from Griffith is one of patience, demonstrated through another simple yet magical love story. She expertly shifts from third to second person, revealing herself as the woman she describes being struck by love.
Blue Moon is a well-produced debut album which serves as a tiny nook of calm in the crazy state of life. While being light and fun, there is a sense of intimacy in each song, a feeling like you and you only are being sung to. Blue Rose doesn’t take itself too seriously, creating music that is hopeful and easily accessible. Most striking is the consistent depiction of senses and seasons which really make the songs what they are. Even the moon becomes a recurring character, bringing the title to life.
Blue Rose has a lot of room to grow, and a lot of emotion to tap into, but this is only the beginning. If you want to see this band blossom more, they will be touring throughout Illinois this Summer.
Americana sensation Eddy Lee Ryder releases her first LP titled Sweet Delusions today. This NY-based artist is gracing us with 11 beautifully made songs, each piece delivering a romantic and almost magical experience.
Ryder’s voice has a distinct country twang to it, with soft-spoken and whimsical tones. I absolutely love the layering done with her background vocals– it truly adds an angelic element to the entire ensemble. As a previous string musician myself, I believe the album’s classical musicality is nothing to gloss over; almost every song is blessed with a symphonic melody, made possible by effortless violin and piano riffs.
“Highwaymen”, the focus track of the album, is a perfect representation of the youthful side of Sweet Delusions. Ryder yearns to travel and finds solace in being on the road. In order to be with her, you have to understand that sometimes she needs to get away from it all– but that doesn’t mean she wants to be alone. Ryder is looking for a partner-in-crime to accompany her on all life’s journeys. As a homebody, I cannot relate, but I can definitely see the appeal of “Highwaymen” for people my age. This song was made for all the free-spirited girlies out there! The chorus goes:
I hear the highway’s my man Left my man for the highway If you want to be free you must do it my way~
Her song titles do well in describing the message underlying each song, gracing the audience with straightforward and relatable phrases. Songs like “Sweet Delusions”, “Bad Decisions” (my favorite of the whole album), and “Joke is on Me” showcase the self-deprecating aspect of looking back on romantic relationships. As the titles imply, Ryder holds onto beliefs that she knows are not likely, but desperately wants to believe in them. She even fantasizes about her love interest ditching his current lover to go after her instead– delusional right? She wants to be with him forever, quite literally singing that she refuses to let these delusions go.
The rest of Sweet Delusions is filled with purely delightful symphonies and vivid imagery. “Smoke and Mirrors” implies the obvious– everyone puts on a front; Ryder and everyone else knows the lives people display on social media are not real, but what she does know for certain is that her love and connection with her partner is real. There’s a verse in the song that goes “Now they’re all changing their looks, buying self-help books” which I can relate to wholeheartedly!
The last couple of songs of the album are what really bring the whole LP to life. In “Only Real Cowboy”, Ryder depicts herself as a cowboy-era vixen at a nearby saloon; she is watching in awe as her love interest takes on the big, bad sheriff in town. In “County Fair”, Ryder does a wonderful job at illustrating the almost surreal county fair experience: summer heat, loud attractions, and fast crowds. Best of all, this song encapsulates being in the moment. Going to the county fair is a great first-date idea for young couples. Ryder is once again reflecting on past times, looking back on a romantic experience she had with a boy in her youth.
There’s nothing like a good alternative rock release, and the self-titled debut EP from Soft No fits that bill entirely perfectly. Soft No came out only last week from the Philly-based band, made up of childhood friends Scott Signorino (guitar), Allie Lannutti (vocals, bass), Austin Lotz (guitar), Jon Martello (drums), and Kate Lowe (keyboard/synth). It features five tracks that were all produced by the band with Mark Watter, who’s done audio engineering work for both Alex G and Hop Along. Soft No has only been together for a little over a year now, with their sound still somewhat loose, with inspirations from several alt-rock subgenres and local Philly music scenes. This includes modern indie rock, 90s grunge, emo, metal, and most prominently – a lot of noisy shoegaze.
All of Soft No’s tracks are well-crafted pieces of noisy, dense, and heavy psychedelia that persistently grab your attention, even if they may lack distinction from each other. For a release that’s only five songs and 16 minutes long, this isn’t necessarily a bad thing. It functions more as a quick introduction to the band and their talents as opposed to an album that’s more chronological and focused as a full experience. Each track is wonderfully noisy and drenched in layers of instruments and textures. The opener “Keeping Tabs” earns comparison to classic noise rock acts like My Bloody Valentine, with the guitar playing and distortion being consistently impeccable throughout the album. Most of the other songs follow a similar formula with minor differences, such as touches of grunge on “Take Your Word”, metal on “Descender”, and an uptempo garage/punk sound on “Melting Timelines”. The latter tracks are easily my favorites, being just as abrasive as well as enjoyable and fun to rock out to. With a lot of shoegaze and noise rock, the vocals tend to blend into the background, but it feels more intentional here as they function more like an instrument in themselves. I also think the drumming and bass playing are key to many of these songs, as they provide a dynamic rhythm that keeps the songs from becoming too focused on atmosphere. Still, I’d like to hear more of the vocals and lyrics in later releases, even if they’re not what the band currently chooses to emphasize.
Soft No’s debut EP is instantly recommendable to fans of abrasive, heavy alt-rock and shoegaze, and really impressed me as I listened to it. The band’s tight chemistry is center-stage throughout, and I hope they keep working together when creating a more focused LP in the future.
The main appeal of the Mississippi-based indie folk band Happy Landing is their sweetness and love for one another which shows in each song. On Golden, their debut LP, the tight chemistry and connection that the band has is translated into an album that’s loveable, sweet, and sometimes willingly cheesy. The sound of the record (and the band) is one that combines the spirit of indie music with rootsy Americana sounds and is filled to the brim with expertly performed vocal harmonies. Both lead singers, Matty Hendley and Keegan Christsen respectively, blend their voices well enough, though each brings unique qualities when leading. Hendley has a raw vulnerability in his vocals that makes the lyrics seem true and sincere, whereas Christsen’s voice is more confident and boosts the harmonies. And these harmonies are the most easily identifiable part of their sound, as almost all the songs feature bold and soulful choruses where every band member joins together. It’s likely why the band is noted for their live shows, as each song easily functions as an inviting sing-along with an audience.
The first few songs of Golden work mainly in the same upbeat “stomp-and-holler” indie mold, with “Lose The Gun” being a strong opener and “The Family Band” presenting the band’s ear for melody. These tracks are easy to appreciate, with the former and “Let Me Out” being obvious choices for singles, but a lot of the best moments of the album come with more restraint. When the vocal harmonies are utilized in softer and more nuanced ways like on “My, My, My” or “Greyhounds”, it’s easier to appreciate the songwriting and vulnerability of the performers. Not to say the album’s production is at fault, as it’s one of its strongest points. Several songs balance layers of root instrumentation and vocal harmonies but never feel disorganized or incoherent. “Marriage Song” best represents this, with its vast and sweeping string section growing more powerful towards the song’s climax.
Golden is a rare album that has its sound matched perfectly by the cover. A golden crescent moon that seems to darken while set against a worn leather texture. It’s oddly similar to the sorts of images that came upon me while listening: watching a setting sunset amongst fireflies, or the coziness when curled up with a good book. This is an album that’s appealing and accessible without ever trying hard to do so, based purely on Happy Landing’s likeability.
This fall, Happy Landing will embark on “The Golden Tour”, with supporting act Arts Fishing Club.
Nashville-based singer and songwriter Meg Elsier has released her new album spittake and it is no joke! Recently making her debut in 2023, spittake is an album she describes as an ‘introduction to herself’ as an up-and-coming indie-rock artist. The album consists of 11 songs and was made in collaboration with Ryan McFadden, a fellow Nashville-based producer. A fun fact is that most of the titles are uncapitalized with no spaces to stay true to their original demo names!
Elsier’s haunting voice is a wonderful contrast to the electric guitar and drums that build up her sordid lyrics. If her sickeningly sweet melodies don’t make you feel melancholy, then her messages will. Most of her songs are a self-reflection of her poor thoughts and actions, usually with a partner in mind.
My personal favorite of the album is “forlyleinsanfransico”. In this song, Elsier rambles on about how she is the perfect fit for a guy (or girl) and vice versa. However, Elsier admits that she is only human and has flaws that may affect their potential relationship. My favorite verse is:
I’d be your good girl But I do bad things And I talk dirty But I keep the house clean And I’d be funny But you’d be funnier And I don’t mind it I like second seat
My take on the whole song is that Elsier’s self-hatred and selfishness is preventing her from committing to a healthy relationship. As a sad girl myself, her lyrics are very relatable!
A handful of her songs are accompanied by music videos, all viewable on Youtube. In her last song “LA”, she is depicted as a white angel on an empty black stage. Other angels identical to her appear and a confrontation ensues. The song is a musing of her life if she ever moved from Nashville to LA. Elsier acknowledges that she wouldn’t trust the lack of cold weather, the high living costs, or how emotionally distant the LA people are. According to her, the harshest reality to accept would be that there are many artists just like her, implying she would lose her authenticity and ultimately herself if she ever moved to LA.
spittake can be listened to on all streaming platforms. You can also follow Elsier on social media. As for the rest of the year, Elsier is touring in her hometown Nashville Tennessee, and all along the East Coast– in Ontario & Montreal as well.
Mike Campbell is a classic rock veteran who’s never really gotten his due, at least in the eyes of the public. His musical track record is all over the map, as a founding member of the legendary Tom Petty & The Heartbreakers and a collaborator of other household names like Stevie Nicks, Bob Dylan, and Don Henley. This sort of throwback retro-rock sound pervades all throughout Vagabonds, Virgins, & Misfits, the third album of Campbell and his band, The Dirty Knobs. The band, composed of former Heartbreakers/Don Henley collaborators Steve Ferrone (drums), Chris Holt (guitar), and Lance Morrison (bass), began as a side project in 2000 for Campbell but became a full-time project from the dissolution of The Heartbreakers following Petty’s death. This is their third album after 2020’s Wreckless Abandon and 2022’s External Combustion.
Vagabonds, Virgins, & Misfits is musically defined by many of the same textures that defined the Heartbreakers’ sound: blues, rootsy country, and occasionally some hard-edged rock & roll. The album’s vintage vibes never attempt to reinvent the wheel, but that’s missing the point. Mike Campbell & The Dirty Knobs’ appeal is hearing a band of energized veteran musicians play the music they love without a care in the world, and it’s why the album succeeds on its own merits. Even if part of one’s affection towards the band may come from their own nostalgia towards the Heartbreakers and classic rock in general, it’s still a well-crafted piece of retro rock with consistently killer performances.
The best songs on the album are the ones where the band is firing on all cylinders, such as the loose and fast-paced rock-n-rollers “Shake These Blues”, “So Alive”, and “Don’t Wait Up”. They each have an irresistible groove with amazing guitar playing, and the band’s chemistry and individual talents all get to appear. Many tracks also feature a sound closer to the heartland rock played in the Heartbreakers, such as “Angel of Mercy” and “Innocent Man” and succeed as feel-good breezy songs that still have grit and muscle in their tone. I was even digging some 60s-inspired country songs that intermittently appeared, such as “Hell or High Water” and “My Old Friends”. Both provide enough changes in instrumentation (through a string section, harmonica, horns, and Americana staple steel pedal guitar) to work just as well as the more conventional rock songs. While Campbell’s age can show in some of his singing, it’s always off-put by the love and enthusiasm always shown for his work. The vocals are also helped by guest stars on the album, such as contemporary country star Chris Stapleton, fellow heartbreaker Benmont Tench, and Gen-X/boomer music maestros like Graham Nash and Lucinda Williams.
Again, some of the album can depend on your own feelings for classic rock and you may be more inclined just to relisten to Full Moon Fever instead. But even as an act that prides itself on older musicians and styles, Vagabonds, Virgins, & Misfits is an effortlessly enjoyable ride that’s built on a strong love for rock music.
The second album by any successful artist can be a critical moment in their career. It’s made to show the impact of their previous work wasn’t a fluke, and that they’re still someone worth giving your time and attention to. This is easy to mess up, as the term “sophomore slump” still gets used when describing artists not being able to make a follow-up that builds on their previous acclaim. The new album by Luna Shadows, bathwater, thankfully doesn’t fall into known sophomore slump pitfalls and expands on Shadows’ previous music from 2021’s Digital Pacific. It expands on her goth alt-pop sound by incorporating more guitars and orchestral arrangements, but also shows a deeper, more personal look into Shadows than before. bathwater is a slow-burn album that rewards listeners with poetic and vulnerable lyrics and gorgeous melodies that split the difference between songs you can dance or cry to in equal measure.
Musically, the album isn’t a complete reinvention of Shadows’ previous work, as it uses Digital Pacific as a jumping-off point to new sounds and textures. The previous album’s hazy synthpop and use of drum machine rhythms found in hip-hop or R&B are still present, but they take more of a backseat. As someone who doesn’t listen to moody alternative pop records (i.e. Lorde, Lana del Rey, Billie Eilish, etc.), the sound took a bit of getting used to. I deeply appreciate that Luna Shadows remembers to keep her music rhythmic and interesting, unlike a lot of alt-pop that focuses too heavily on vibes. However, some songs are produced more in minimal accompaniment with a greater focus on Shadows’ vocals and a richly produced dense atmosphere. Still, the album sounds great and even goes into psychedelic, somewhat ethereal territory that almost reminds me of dream pop like Beach House or even Cocteau Twins.
Speaking of Shadows, her vocal performances here are as pristine as ever; being breathy and somewhat whispered at points, yet still dynamic enough to convey the raw sense of vulnerability she’s going for. Her voice is soothing and occasionally functions as an instrument themselves when set against the eerie and psychedelic soundscapes she sings in. Fitting with her namesake and the album cover, her voice and persona all have an otherworldly, mystical quality that makes her music even more intriguing. All the vocal harmonies sound wonderful, alternating between misty, heartbreaking, playful, and just all-around pretty whenever the song demands it.
In terms of individual songs, my favorites are the more up-tempo pop-friendly singles like “bleach” and “heroine” which both feature killer electric guitar and breezy vocal harmonies. Some of the slower songs are just as strong, like the heartbreaking “monroe” with its desperate sentiments, and “honeymoon” which features some beautiful finger-picked acoustic guitar. The indie stylings mostly come down to acoustic guitar being used as background texture, like on the more R&B-inspired “tourist” and the ballad “superstars”. However, there’s still time given to use guitar solos on songs like “stay mad” and “nudes” that are consistently excellent throughout the album. Experimenting with string instruments like on “witches’ brew” and the closer “apocalypse love song” complements the melancholy and moody tone that the tracks themselves provide.
bathwater may occasionally feel its length with a track list of 14 songs (including an intro) and can go into the same sonic territory of ambiance a bit too often, but each song has enough personal feeling to justify its place. Luna Shadows likely made this album as a way of transcribing her personal struggles and conflicts into art, such as many other artists, and she succeeds by pushing herself forward musically and emotionally. For only a sophomore album, it suggests more great work from her is still to come.
As a music nerd, it’s fun to listen to new releases and try to figure out where an artist’s influences come from. However, it takes talent and real musical ambition to not just seem like an admirer of certain inspirations with nothing original to say. Inside Out, the new album from Florida-based singer-songwriter Jason Montero, wears its influences on its sleeve yet keeps things fresh with new ideas. It’s a record clearly worshiping a lot of classic rock but focusing deeply on grooves, shared chemistry between band members, and varied instrumentation to be a consistently enjoyable listen.
Montero, a guitarist and longtime performer in bands local to the Phoenix area (Honey Child, The Limit, The Wood Band), explained that this album specifically resulted from dusting off some late-80s/early-90s songs he never ended up recording. For the studio recording sessions, several old bandmates and friends from his life helped to contribute parts, and everyone’s enthusiasm for the project clearly shines through. Every song sounds like a portion of a fun afternoon jam session, with the backing band getting ample opportunities to contribute, whether it’s for rhythm or simply texture and atmosphere.
The first half of the album surprised me with how danceable and almost funk-driven it was. Songs like “No James Dean”, “Criss Cross”, and lead single “Thorn” all have delightful swinging grooves that’s toe-tapping fun throughout their entire runtime. The emphasis on hand drums and shakers during certain tracks turns what could be simple bar band blues-rock into something more worldly and cultured than expected. Sometimes the songs reminded me of Paul Simon’s Graceland or even Vampire Weekend’s early world music excursions. A song like “Conclusive Illusions” has layers of sounds to it, but each instrument develops tightly together into complex polyrhythms. It’s impressive at the level of musicianship present during certain songs.
The second half of Inside Out is less upbeat, introducing elements of folk and psychedelia. “Marvel at the Rainbow” and closer “Her Majesty’s List” are sweet and earnest, mainly featuring Montero with soft and gentle acoustic guitar playing. Speaking of which, his acoustic and electric guitar work are consistently great, with the latter getting to shine on heavier songs like “Gomorrah” and “Rebecca”. Montero’s vocals, like a lot of classic rock singers, are more about their grit and gruffness than necessarily their technical ability, and they complement the bluesier songs well enough. He also produced the album himself, and the sound of the production fits perfectly. It’s very natural and rural sounding to match the vintage influences and shines during the more acoustic sections of the record.
Inside Out isn’t perfect and may rely too much on classic rock conventions for some, yet that’s part of why it works. Going back to these old songs written decades ago was clearly a nostalgia-driven exercise for Jason Montero, and that passion shines through in every song. If he had rewritten and updated them from the work of a less experienced singer-songwriter, the initial appeal of recording the songs, to begin with, would be lost. As it is, Inside Out is a time capsule of songs that aren’t confined to the decades originally written from.
