This introductory effort by The Wholesome Boys showcases an expansion in tone, sonics, and playing. A conscious decision was made by the group to introduce a sound of edgy and refined qualities fit for stadiums filled with ears for a broader audience. Even with this road ready, expanded sound, there is still that “Ah, shucks” feel the band had curated on the E.P. For this latest project the band has drawn from diverse influences, with some of the most prevalent hailing from the New York Indie scene known for tight drums, staccato bass, arpeggiated guitar riffs, and big vocals. These advancements in their sound are owed to the Band’s continued growth as musicians and songwriters. They have created a signature sound over the past year that resembles a prized family dinner table. With the help of producer Ben Rice, this adored table’s rough edges have been honed and smoothed. The added extensions and expansion of sound accommodate more people to join in on the festivities.
At the heart of the project, there is a juxtaposition that melds together comfortably the archetypes of light and dark, love and loss, and triumph and trial. A natural city slicker, street swagger accompanies the lyrical dreaminess of living through the American landscape to achieve a healthy balance of Dionysian and Apollonian forms. The anthemic scale of songs like “Ypsilanti” and “Tonight is Just Us,” play to our romantic sensibilities. While deeply introspective facets of tracks “Buffalo” and “Closer” have the power to drive one to cathartic tears.  “Beyond the Reach” and “Speed of Sound” have carefully hidden angst behind their reverberating, rocking ruckus.
Coming from the previous project, this striking new album raises the level of respect of the band not playing to the gallery by just delivering the same album over and over. This album is unquestionably written by a working road worn band. Within its hallowed soundscapes, the suggested environment is a repeating pattern of cheap hotel lobbies and all-night grunge diners attached to gas stations. We feel the cheap, cramped green rooms. We gag from the smell coming from the back of a van on a twelve-hour trek towards the next gig. But one does not have to know the backstory of the making of this album to enjoy it, because this band hasn’t made an album filled with tired tropes. They have birthed something grander than the sum of its parts.
No doubt about it, some will say, the band has changed their sound and total approach with this latest effort. But in the end, is this still not the same outfit we’ve all grown to love? To me, those that question this radical change in direction have never truly understood this band’s full potential and such fools will never see the light. For over a year, I have championed this band in all aspects of its being. They’ve been a guiding light in the current music scene that I have looked forward to hearing. Their songs capture a truth and force that I feel is waning in our contemporary music scene. Their music’s message struck a chord within me, helping push me in the direction of inspiration and solace in my time of trouble.
Upon receiving an advanced copy of this album, a feeling of excitement and intoxication shot through my bones. Good music is like a powerful drug. The other night I was listening to the album while driving back from a masqueraded hen party of cocktails and businesses. A feeling of youthfulness came over me, despite staring down the double barrel of forty.  It made me pull my Red Pony towards a familiar backroad in my small country town. Upon reaching a point of privacy, I stopped and jumped out of the Red Pony onto the ole blacktop with the radio at full volume. I began to dance wickedly with the ghosts of Francois Villion and Muso Soseki. As my inner thirteen-year-old self-air guitared it up, under the wild, fresh, full moon light, I thought, “Damn it, boys, you’ve done it again.” -Michael Landis-

Louisiana Rock n Roll

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johnhollier@7smgmt.com

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