Walter Mitty Returns to His Makeshift Orchestra for Entertaining LP

Puddles of Alligators is an excellent collection of b-sides and a welcome release for Indi-folk fans.

Walter Mitty and His Makeshift Orchestra is a acoustic folk outfit from the West Coast. They debuted in 2009 with Every Town Needs a Cowboy which found them immediate success within the underground folk-pop movement of the day. A handful of releases followed with 2011’s Overwhelmed and Underdressed as the highlights, each of them developing the band’s mix of unique instrumental pallets, carefree production, and quirky lyricism. In 2017, the band began to go by the name Walter Etc. with two releases that year which largely kept with they original style. Now, they’ve returned to the Makeshift Orchestra moniker to release Puddles of Alligators, a collection of B-sides which never quite made the cut on their early albums.

While several of the band’s best features are here in spades, there are also quite a few surprising highlights. The percussion work, though simple, is extremely effective. The ringing tambourines on “Chocolate Old-Fashioned,” and the odd cymbals and clackers on “Farm Trees and Fences,” are fascinating touches on already interesting songs. This certainly wasn’t missing from earlier releases, but there seems to be even more attention paid to it here.

Beyond this, there is some excellent guitar work on tracks like “All the Pretty Fishes,” and the closer, “I’m off to Paradise.” There’s nothing showy here, but the rhythmic acoustic is present and well played across nearly every second of this LP and the short solo near the end of the record is extremely enjoyable.

Best of all, this album features a few fantastic interludes. “Hand-Me-Downs,” is a youthful, energetic cut early on while “It’s Raining in My Living Room,” is a brilliant, atmospheric track which serves as a perfect center point to the album. These make for great connective tissue between full length tracks and the latter is especially experimental and creative. 

The album even features some strong production choices on tracks like “Suck It Up.” The raw, clipping sound fits the whimsical style of the band perfectly. The mix is dirty and inexact, but gives each track a feeling like you’re in the room with them, which is exactly where you want to be.

For fans of Walter Mitty, it’ll be unsurprising to hear that the LP is packed with fantastic kazoo parts. From the earlier “Funny Faces,” to later entries like “Scrubbing the Mold,” and “Carry Me Back to the Purple Palace,” Walter Mitty continues to be the only artist in the industry, to my knowledge, who can consistently rock a kazoo solo at a moments notice. Its use much like the way a harmonica is utilized on many folk records, but the abrasive buzz is just an entirely different sound.

The LP’s strongest point though, comes in the simply hilarious lyricism. The opener, “Pink Eye,” jokes about the millennial stoner life with a sardonic tone which is summed up in the line “nice to meet you, I’m pathetic, let me be.” “Mellow,” on the other hand, is a short turnaround which poetically celebrates an enjoyable, but uneventful day with even more sharp-tongued sarcasm. Nearly every track features a few hilarious one liners, as is often the case with any of Walter Mitty’s work.

The album certainly isn’t perfect. Cuts like the title track or “Wetter Days,” are a bit boring as they lack any shining kazoo solos or memorable lyrics. Additionally, the pacing is a bit fast for my taste, without a single track clearing three minutes and only a few clearing two.

That being said, for fans of the band like myself, this is a welcome addition to the rather prolific catalog. The excellent instrumentation, hilarious lyricism, and well-played kazoo were expected from the beginning, but the addition of interesting interludes and raw production are welcome surprises.

Puddles of Alligators is an excellent collection of b-sides and a welcome release for Indi-folk fans.

6/10

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Whitney’s Sophomore Effort is Packed With Heart and Fun!

Forever Turned Around is a fun listen which overcomes technical and pacing issues with pure heart and and a massive pallet.

Whitney is an indie-folk group from Chicago, Illinois. Formed in the breakup of indie rock outfit, Smith Westerns, guitarist Max Kakacek and drummer Julien Ehrlich joined forces with a handful of friends in 2016 for the band’s debut LP, Light Upon the Lake, which received wide acclaim from critics across the contemporary music landscape. They were particularly praised for their simple style and clear inspiration from early pop groups like The Byrds and early Beatles. The record was a hit for the young indie band and for well known indie label, Secretly Canadian and launched a headlining tour across Europe. With a fairly strong fanbase, anticipations were high for a sophomore release and, three years later, Forever Turned Around has arrived.

From the opening seconds of the LP, Julien Ehrlich’s drums are a standout highlight! Tracks like the opener, “Giving Up,” and “Valleys,” showcase a uniquely simple form of drumming which fits the band’s sound extremely well. There are no flashy fills or difficult time changes, but instead a nice steady rhythm with great cymbal work. The drums are also wonderfully mixed, with a crisp snap on every snare and a full thud to every kick.

Max Kakacek is also hard at work on guitar with a similar approach. Late cuts like “Day & Night,” or my personal favorite, “Friend of Mine,” feature some nice lead licks, but the majority of his best work comes in the rhythmic, acoustic work that makes up the melodic bass of most of the album. Again, he rarely stands out, but it’s that consistent performance which forms the strong backdrop for everything else to shine.

Kakacek does get a chance to take the spotlight a bit more, however, as the band’s lead vocalist. His soft harmonies and ringing falsettos on “Used To Be Lonely,” are able to sell the somewhat cheesy lyrics fantastically while his work on “My Life Alone,” is far less front and center but much more energetic and dynamic. Because of the band’s style, his vocals aren’t always front and center, but they always act as a wonderfully entry point to the band’s unique sound.

Without a doubt, however, the album’s best quality comes not from any one single member, but the group as a whole and their delightfully wide pallet. From the folksy brass sections on “Before I Know It,” to the oh-so-smooth saxophone on the excellent instrumental cut, “Rhododendron,” or even the swelling woodwinds on “Friend of Mine,” there always seems to be something interesting right around the corner and the pallet serves to color in the simple canvas at the base of each song.

Unfortunately, I am left with a handful of criticisms. Perhaps the most consistent issue comes in the production. With such a large array of instruments and a unique style to start with, this is a difficult album to mix, but the majority of it is muddy and lacks any clarity, so much so that a lot of great work is lost on tracks like “Song for Ty,” or the closing title track in a wave of indistinguishable sound.

Beyond this, there are certainly pacing problems which didn’t really exist on the debut. Even for fans of this falsetto heavy, folksy crooning, the lack of diversity in the tracklist starts to weigh on a listener by the end. Each track, on their own, is perfectly enjoyable, but the album, as a whole, definitely drags a handful of times.

Despite these complaints, Forever Turned Around is a solid sophomore effort. The simple, heartfelt shell of solid songwriting and melody is filled to bursting with a wide array of unique instrumentation and quirky harmonies. This album may not find a ton of crossover success, but for fans of this genre and this style, this is yet another solid release from an excellent group.

Forever Turned Around is a fun listen which overcomes technical and pacing issues with pure heart and and a massive pallet.

6/10

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Springsteen’s Western Stars Is a Soaring Masterpiece

Put simply Western Stars is yet another example of why Bruce Springsteen is known as The Boss.

Bruce Springsteen is an undeniable legend of rock and roll from Long Branch, New Jersey. His reputation precedes him as one of the greatest songwriters of all time and the man who carried the blue collar Americana style through the 1980’s when the majority of rock music had turned toward a cocaine fueled, long haired style of metal which didn’t carry nearly the lyrical substance of the earlier days of the genre. Springsteen found breakthrough success in 1975 with his third LP, Born to Run and landed his first number one with 1980’s double album, The River. In total, The Boss has now released 19 studio albums nine of which have peaked at number one and 15 of which have gone platinum or better. As he approaches his 70’s, he shows no signs of slowing down, dropping his newest record, Western Stars over the weekend.

From the first moments of the album, it becomes abundantly clear that Springsteen’s ear for melody is still absolutely in tact. Cuts like the opener, “Hitch Hiker,” and “Tucson Train,” feature fantastic hooks and instrumental passages that are absolutely infectious. It’s nothing short of astounding that, after a nearly fifty year career, the boss can still write a melody that feels fresh and sticks in the mind, but he does it over and over again on this album.

Beyond this, the lyrics on this project are also quite impressive. He makes quite an effort here to tell very unique stories and, for the most part, he succeeds. The title track follows an aging actor as he longs for his younger days and meets with fans everywhere he goes, also playing cleverly with the title of the track and album as referring to both the night sky in the West and the main character on the track who once stared in Western films. “Somewhere North of Nashville,” is also excellent, examining the cost of pouring one’s heart and soul into a song and the feeling of loneliness that comes with its success.

In terms of his vocal performance, Bruce’s age does show, but he uses the gruff tone to his advantage. His voice has always been rather strained, but on the softer cuts like the closer, “Moonlight Motel,” there’s a soft tenderness that has rarely been seen in his earlier work. He also brings extraordinary power to perhaps my favorite track on the album, “There Goes My Miracle.”

Despite all this hard work from the boss, the record’s true highlight comes in the instrumentation. This begins with a daring variety of chord progressions which pop up all over the tracklist. Songs like “Drive Fast,” and “Sundown,” while genuinely enjoyable in their own rights, stand out all the more thanks to surprising and dynamic chord changes that keep a listener guessing throughout.

Additionally, there are a handful of interesting percussion choices that are made on some of the more upbeat tracks. “Sleepy Joe’s Cafe,” which is essentially a throwback to Springsteen’s 80’s prime, has an almost tropical feel while a later song like “Hello Sunshine,” benefits from a less noticeable but still well performed and mixed drum kit.

Without a doubt, however, this album lives and dies by the simply tremendous instrumental pallet which graces every single cut. A few of my favorites include the bombastic horn section on “Wayfarer,” and the heartbreaking strings on “Chasin’ Wild Horses,” but nearly every track is driven by a massive collection of instruments, each with fascinating melodies to follow.

It seems obvious that Western Stars’ purpose is to borrow sentimentally from the sweeping, orchestral soundtracks of American Westerns and golden age country music, and to that end, it succeeds in nearly every way possible. Each song is a new adventure and the fifty minute runtime flies by fast enough to leave you wanting more. It’s one of my favorite Springsteen projects, not only in recent years, but of all time.

Put simply Western Stars is yet another example of why Bruce Springsteen is known as The Boss.

9/10

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Andrew Bird’s 12th LP is a Listenable Piece of Folk Rock

My Finest Work Yet is a moderately enjoyable album that could’ve benefitted from having a few more cooks in the kitchen.

Andrew Bird is an indie-rock vocalist and multi-instrumentalist from Lake Forest, Illinois. He debuted as a solo artist with 2003’s Weather Systems, after leaving the band Bowl of Fire, with whom he’d spent most of the mid to late 90’s. His early work found some following, particularly with fans of the band, but after signing with Fat Possum Records, he dropped 2007’s Armchair Apochrypha, his first solo effort to chart on the Billboard 200.  He went on top the US Folk charts twice, first with 2012’s Break It Yourself, and again with 2016’s Are You Serious. With a long career which winds through a multitude of styles, labels, and albums, Bird has become a favorite of folk-rock fans thanks to a consistent output and creative style. This week, he’s released his 12th album, ambitiously titled My Finest Work Yet.

Immediately, Bird’s experience as a songwriter is obvious in the many unique chord progressions he uses. Tracks like the opener, “Sisyphus,” and the album’s strongest cut, “Proxy War,” are fairly unpredictable and the inventive progressions allow for a few unique vocal melodies as well. It’s easily the strongest point of Bird’s songwriting on this album.

Vocally, he’s quite strong as well. On “Olympians,” he seamlessly transitions from driving, simple verses to large howling choruses, executing each with quite a bit of power and support. With “Archipelago,” on the other hand, he sells a relatively run-of-the-mill track with a dynamic mix of sweet falsettos a riveting strength. Andrew has never been renowned as a particularly remarkable vocalist, but for the majority of this albums he gives quite strong performances that elevate even the less impressive songs.

Maybe the strongest piece of this puzzle, however, is his skill as an instrumentalist. He is best known as a strong violinist, and he exhibits this many times on the record, including an excellent solo on “Don the Struggle,” which leaves me wishing each track had contained such a solo. He’s also noted, in the album’s credits, for his whistling, which is admittedly fantastic! On “Manifest,” for example, he whistles an excellent melody which adds quite a bit to the track.

On the subject of lyrics, unfortunately, My Finest Work Yet stands on shaky ground. There are wonderful moments like early cut, “Bloodless,” which draws much inspiration from the Spanish Civil War in 1936. On the other hand, there’s a handful of pretentious and overall meaningless lyrics all over the album. “Cracking Codes,” and the closer, “Bellevue Bridge Club,” are the worst offenders on this front, packed full of words which say very little.

Another complaint which has dogged this LP since the release of its first singles is just how far out on his sleeve Andrew wears his influences. “Sisyphus,” though enjoyable, could sneak perfectly into any Father John Misty album, which “Olympians,” pulls heavily from early Springsteen efforts. Additionally, “Archipelago,” and “Proxy War,” bare striking resemblance to the work of the Beatles. It isn’t so egregious as to make these tracks unlistenable, and if Andrew were a younger songwriter, I could easily forgive this, but at this stage in his career, it’s frustrating to hear such lack of originality.

The worst offense, without a doubt, is the production, which Bird did himself. Nearly every one of the 10 songs is muddy, lifeless, and flat. Additionally, he seems to have no care for the different tones needed for each track. “Bloodless,” for example, is billed as some mysterious jazz piece, but the instruments are so brightly mixed that all intrigue is gone. The album’s worst track, “Fallorun,” is a jumbled mess which is made infinitely worse by the way each instrument bleeds into one another. This record would have benefitted from a more expert touch behind the board.

Ultimately, My Finest Work Yet is certainly enjoyable. For fans of the growing folk-rock movement, this is a fine listen to hold you over until the next Father John Misty or Fleet Foxes release, but it could’ve been much more. Andrew’s songwriting and instrumental abilities set this album up with a ton of potential, but poor production, a lack of originality, and a very mixed bag of lyrics hold it back.

My Finest Work Yet is a moderately enjoyable album that could’ve benefitted from having a few more cooks in the kitchen.

5/10

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Todd Snider’s New LP is a Masterclass In Folk Music

With excellent songwriting, simple production, and heartfelt performances, Cash Cabin Sessions, Vol. 3 is one of the best folk albums of this decade, and a treat for fans of Snider or the larger Americana movement as a whole.

Todd Snider is an Americana singer/songwriter from Portland, Oregon.He debuted in 1994 with Songs for the Daily Planet. In total, he’s released 16 albums, not including compilations and special editions, each finding varying levels of success, particularly among Americana fans. Perhaps his best accomplishments are his two live albums, Near Truths and Hotel Rooms and The Storyteller. He’s at his best on these projects as his intimate sound isn’t interrupted by poor production and over-instrumentation. This was a problem, especially in his early years, as the apparatus just didn’t exist to find a producer who could do the Americana and folk sounds justice. Today, however, we’re experiencing a boom in the sub-genre and a multitude of producers committed to the sound. For this, his 16th album, Todd has partnered with the great John Carter Cash for his best studio effort to date, Cash Cabin Sessions, Vol. 3.

Perhaps the most surprising change of pace on this LP is the renewed focus on Todd’s acoustic guitar prowess. Tracks like the album’s highlight, “Like a Force of Nature,” and “Just Like Overnight,” the sparse production and arrangement leave nothing but space for Snider to fill with complicated and melodic folk riffs, which were played on the Martin guitar of the late Johnny Cash. He’s very rarely content with simple chords, and instead picks each note with intention and a strong ear that makes every cut infinitely better.

Much less surprising, however, is Snider’s razor sharp wit and penchant for quick, yet hilarious one-liners. On a song like “Talking Reality Television Blues,” he crafts a long winded critique of modern culture, beginning with the invention of radio and culminating in the election of a reality television star to The White House. “The Blues on Banjo,” on the other hand, feels like a random riff on the insanity of the world, not to mention acting as a comedic turn on the kind of simple, one-take recordings that brought early blues stars like Robert Johnson to fame. “A Timeless Response to Current Events,” closes the album as a hilarious, wordy talk blues number that mocks the formalities of government proceedings. None of these tracks are necessarily sharp-tongued, but they’ll make virtually all listeners laugh, and that’s the goal.

Aside from jokes, there are also a few genuinely impressive lyrical moments on this record. The opener, “Working on a Song,” perfectly captures the life a song inside the mind of a writer, including both the comical frustrations of feeling it so near to being finished and the heartfelt connection a writer feels to his craft. “The Ghost of Johnny Cash,” appears later on the record and it is at once haunting yet beautiful. Todd celebrates the icons of the genre with the tail of Loretta Lynn meeting the ghostly form of the late Johnny Cash for a dance in the rain.

Todd has a trend on this record of writing specific stories about figures in music history. “Cowboy Jack Clement’s Waltz,” tells the story of its namesake, a very important producer and friend of the late Johnny Cash, mainly cobbled together from stories told to him by John Carter Cash. “Watering Flowers in the Rain,” as its preceding explanation says, tells the story of a longtime roady for Elvis Presley and the frustration he felt at never taking the spotlight himself. These are some of the most interesting tracks on the album and they’re aided heavily by the spoken sections that lead into them.

Another strong addition to Snider’s arsenal is a fantastically well-played harmonica. It’s perhaps most notable on a track like “Framed,” but it’s an ever-present element of virtually the entire album. His ear for melody is, of course, the driving force behind the harmonica’s effectiveness, but the sharp and almost abrasive tone which is allowed to remain in the final mix without overly softening the edges.

Todd Snider said that recording this album was a result of a recurring dream in which Johnny Cash himself would wake him up from his resting place on the floor in the center of the Cash Cabin Studio, which is incidentally the site where Cash passed away. When Todd opened his eyes, Cash would point to the engineers booth and say “you’re missing it.” And so, Snider set out to make an album at the studio which would make The Man in Black Proud and I think he succeeded.

With excellent songwriting, simple production, and heartfelt performances, Cash Cabin Sessions, Vol. 3 is one of the best folk albums of this decade, and a treat for fans of Snider or the larger Americana movement as a whole.

9/10

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Sun Kil Moon Returns With Much Stronger LP

I Also Want to Die in New Orleans is neither the most accessible, nor the most daring project thus far in 2019, but it certainly a welcome addition to the Sun Kil Moon catalogue.

Sun Kil Moon is a folk rock artist from San Francisco, California. Originating as a continuation of the defunct indie rock band, Red House Painters and sporting a long list of past members, Sun Kil Moon is now the primary moniker of Mark Kozelek, the group’s original lead singer. He’s amassed quite a discography over the past fifteen years, never reaching meaningful commercial success, but becoming a certified critical darling thanks to multiple excellent reviews. His latest record, This is My Dinner, held a few interesting ideas, but was ultimately bloated and often boring.

The album opens with “Coyote,” and immediately we have a strong improvement from the previous record. The instrumentation is sparse and only loosely conforms to any type of rhythm, and it’s aided by a reedy, humming woodwind that brings the moody undertones to a head. Kozelek’s vocals are also fairly impressive, especially the doubled harmonies on what could vaguely be called a chorus. Lyrically, this isn’t the most impressive cut on the record, but there’s quite a bit of solid comedy and it’s certainly a step up from the at times unbearably boring writing on This is My Dinner.

“A Day in America,” follows, the second longest and easily one of the strongest tracks on the record. While the instrumental and production are relatively simple, the lyrics bring this song to a new level. Using his trademark, stream of consciousness style, Mark rambles descriptively through his experiences on the day he learned of the recent Parkland Massacre in Florida. True to form, he rarely stays on topic, devoting large amounts of time to a petty argument with his band, but this works to his advantage here as he says more by rambling off topic acting as a commentary on the tendency of American’s to brush these events aside. It’s a simply brilliant piece of storytelling.

“L-48,” is the third and shortest track, an yet, in many ways, it’s the least focussed. The lyrics seem to have very little to say, and while they may perk the ears of long time Sun Kil Moon fans, they leave a casual listener like myself a bit bored. The instrumental on the other hand, is quite fascinating. Extremely simplistic in presentation, the track presents a multitude of concise melodies with strong focus. The drumming peaks in and out, and the track often feels just one beat from completely falling apart, teetering on the edge of incoherence, and yet consistently intriguing. It doesn’t make up for the weaker lyrics, but it’s an enjoyable piece nonetheless.

“Cows,” on the other hand, returns the record to a fuller sound, largely to its detriment. The melody is much less clear on this track and the drumming is somewhat boring. Lyrically, however, “Cows,” proves impressively capable of holding a listeners attention for the substantial runtime. Using cows as an anchor point for both his rural youth and his philosophical readings, Mark gives us an interesting peak into his psyche and even smuggles in a few profound ideas.

“I’m Not Laughing at You,” kicks off the hefty second half of the LP. It benefits, musically, from the addition of a strong horn section and some excellently spacey production. This is also one of the more interesting storylines as Mark uses a tale of misunderstandings and embarrassing moments while on travels in foreign countries to examine America’s status among the rest of the world, mocking our excess and ignorance, while lauding the many great contributions the US has made, particularly in the realm of songwriting.

“Couch Potato,” is yet another strong entry and maybe the most fun cut on the tracklist. The looping guitar and energetic rock beat is reminiscent of a classic 1970’s pop-rock, but lyrically, it’s quite biting. In it, Sun Kil Moon lambasts the left leaning majority in the US for their silence and lack of concern for immigrants under previous presidents. He goes on to predict a reelection of Donald Trump, should the majority of voters continue to accept the status quo as it is.

“Bay of Kotor,” closes the album with a daunting 20 minutes all to itself, and it uses its time well. Easily the strongest track on the album, Sun Kil Moon tells a sprawling story of a rather tame but interesting night in San Francisco. He touches on his love for animals, his inability to connect with women who hit on him, and a series of unique interactions with a hotel waitress from the area. 

All said, this is a large step up for Sun Kil Moon. The instrumentation has quite a bit of character and the lyrics, though at times meandering, are often fascinating and creative.

I Also Want to Die in New Orleans is neither the most accessible, nor the most daring project thus far in 2019, but it certainly a welcome addition to the Sun Kil Moon catalogue.

6/10

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Hozier Is Back With a Perfect Sophomore Album

Wasteland, Baby! Is an infectious passion project from one of the brightest minds in music today which slowly sucks you in further and further in with each listen.

Hozier is an indie/blues rock artist from Bray, Ireland. He debuted in 2013 with the Take Me to Church EP, the title track of which is still his most successful song to date, certified eight times platinum in the US alone. After the massive success, he went on to drop the From Eden EP, which was equally well received and left expectations sky high for an upcoming LP. His 2014 self-titled album debut certainly didn’t disappoint, featuring represses of much of the previous two releases while adding a few fantastic new cuts. The album went double platinum in the US and six times platinum in his home country of Ireland, spawning a large tour and and netting multiple awards. Fans were left clamoring for more but were largely met with silence until the release of the Nina Cried Power EP in late 2018. Now, just a few months later, we finally have a sophomore effort from the indie rock troubadour and it absolutely does not disappoint.

Wasteland, Baby! May be a bit jarring to fans of the debut, as was the preceding EP, as Hozier has returned with a wide array of new styles and effects, and a renewed focus on the instrumental side of his music which just didn’t exist before. This is made obvious in the baselines of the very opening track, “Nina Cried Power,” in addition to “No Plan,” a few cuts later. The bass guitar works extremely hard across this record, constantly moving with purpose and played with skill.

This is also extremely noticeable in the massive instrumental pallet of this album. The violins on “As It Was” lend a gravitas to an already fantastic, folk-inspired song, while the organ  work on “Be,” and across the majority of the latter half of the record is a wonderful touch. While the first album seemed a bit more consistent in terms of tone, I much prefer the expansive pallet and exciting nature of Wasteland, Baby!

Without a doubt, however, the most noticeable change is a massive focus on percussion on nearly every track. While a song like “Movement,” or “Sunlight,” is perhaps a bit more noticeable, it’s clear that Hozier put serious time and effort into each piece of the percussion on this album and it absolutely pays off. Never once do we hear a nondescript rock beat but in stead a minimalistic but effective collections of dynamic sounds keeping the rhythm.

All this being said, the best qualities of the album are still, by far, the elements we’ve come to expect and appreciate from Hozier’s work. The guitar work is wonderful. From the rolling, picked acoustic of “To Noise Making,” to the earworm riffs of tracks like “Talk,” and “Dinner & Diatribes.” His guitar is at the center of nearly every track and that’s never a bad thing.

The lyrics on this album are nothing short of poetry. “Almost,” is a wonderfully fun tribute to love and music using several lyrics from timeless the jazz standards of acts like Sinatra and Jelly Roll Morton. “Shrike,” on the other hand is breathtaking ode to a love lost using nature as a perfect metaphor. It’s also the best track on the album and one of the best tracks I’ve heard in a very long time. The closer and title track uses powerful apocalyptic imagery to describe the act of falling in love in yet another stroke of brilliance. Genuinely every track on this album stems from a wonderful lyrical idea and executed nearly perfectly.

The absolute, undeniable highlight on this album, however, comes in Hozier’s vocals. Whether it’s the Motown and soul inspired sound of a track like “Nobody,” or the booming, blues rock of “Would That I,” or any of the other 12 cuts on this album, Hozier’s voice is a constant presence. It’s soft and contemplative when it needs to be, and smoothly powerful at the perfect moments, and it is, overall, an absolute Iron Man effort from an incredible talent.

As this album wraps up, I’m struck by what a fantastic experience it was. The pacing is near perfect, never leaving me bored over a nearly hour long runtime, every song feels essential and unique, and every risk taken on the album pays off in full. Even the singles I didn’t love in the lead up have found a comfortable home on this record and have become some of my favorite cuts. The massive accomplishment that is this LP becomes even more incredible when you realize that each and every track is written, largely performed, and produced by Hozier himself.

Wasteland, Baby! Is an infectious passion project from one of the brightest minds in music today which slowly sucks you in further and further in with each listen. It’s an instant classic and it’s the second album in Brendon’s Beats history to receive a perfect score.

10/10

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