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Kevin Morby - Oh My God Music Album Reviews

Morby’s spare fifth solo album conjures memories of Bob Dylan’s gospel-phase. The songs are lovingly performed but begin to fade into indistinguishable.
Across four solo albums (and turns in bands like Woods and the Babies), Kevin Morby has always worn his influences on his sleeve. Or record sleeves if you will: Depending on your Ikea shelf space or online playlists, one might hear throughlines to Bob Dylan’s Blonde on Blonde and Leonard Cohen’s New Skin for the Old Ceremony, the rock-as-savior gestures of Spiritualized and Springsteen. Or maybe you hear Lou Reed, Nick Cave, Randy Newman, and the War on Drugs instead. Depending on the line and moment, Morby can deftly emulate all of the above. The more you appreciate this rock canon, the more likely that Morby hit some of your sweet spots. Even when it came to covering the feral punk of the Germs, Morby found a way to make “Caught in my Eye” sound like a lost Dylan cut.




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As he returns to the intricate polyrhythms and hypnotic vocal chops of footwork, the Chicago producer’s approach remains almost single-minded in its focus.
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The Oakland quintet’s debut album is a spirited indie-emo blend driven by intricate underlying themes, channeling a slew of influences even as it exists in a space of its own.
To Club Night, dystopia is just an arm’s reach away. On their full-length debut What Life, the band ensconce this sense of foreboding in snappy, math-rock-inspired melodies and whimsical instrumentation. Frontman Josh Bertram, as an unabashed fan of ’90s emo cult icons Cap’n Jazz, cites Tim Kinsella as a personal mentor. What Life is crisper and more clear-cut than Cap’n Jazz’s sole album, trading Kinsella’s screamy grit for the vivacious spirit of Los Campesinos! At various points, Club Night evoke the splendor of The World Is a Beautiful Place & I Am No Longer Afraid to Die, the freaky jubilance of Architecture in Helsinki, and the twinkling fuzz of early Now, Now.

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