Human Pursuits Radio 002: OKLAHO-MODE
Yer best musical buds return to discuss alt-country rocker Zach Bryan and frenetic, furious pop-punker Jeff Rosenstock.
VANCOUVER – Do not attempt to adjust the newsletter. Human Pursuits Radio has returned for another pan-Pacific bulletin. We are now controlling the transmission.
On the first Tuesday of every month, best musical buds Ethan Sawyer and Dan Zajac select one album (new or old) for the other to spin and then comment on. The goal is simple: sift through the endless stream of music to separate PROPER CHUNES from PROPER CHUM. Along the way, they’ll write a few sentences for every song, and defend (or even deride) their respective choices.
This week Dan decided to tap in with America’s heartland, selecting Zach Bryan’s eponymous chart topper, while Ethan decided to go HELLMODE with the latest from punk multi-hyphenate Jeff Rosenstock.
So turn down the Christmas music and turn up the CHUNES.
HPR is LIVE.
Dan’s pick: Zach Bryan by Zach Bryan
Intro
DZ: As part of this series I would love to explore different genres through each of my picks. Last time we covered some punk and this month we’ll try some country. I’ve chosen this Zach Bryan album because, in a popular-music world over-saturated with button-downed bro-country conservative Morgan Wallen-types, Zach stands apart. Add some collaborations with artists I trust (Kacey Musgraves and Bon Iver) and some high critical praise, and I’m intrigued to hear Ethan’s thoughts on the Oklahoman (and to evaluate the album myself).
ES: Full disclosure: I listened to this album a few weeks ago at the gym and it didn’t stick. I suspect that’s because I listened to it in the wrong setting. Zach Bryan doesn’t strike me as a rise-and-grind sorta guy, and this certainly isn’t a rise-and-grind sorta album. Excited to give it another spin sans kettlebells.
Fear and Friday’s (Poem)
ES: In September, cultural commentator Chris Black wrote that Zach has more in common with Bright Eyes and Dashboard Confessional than Ryan Adams and I think he’s onto something. Starting your record with a spoken word poem is inherently emo, even if it’s about America and music machines and capitalist excess. In theory, I should hate this but it effectively establishes the tone of the album. Four chords and the truth, baby.
DZ: I think you hit the nail on the head regarding the emo connection. This really sets the tone for the album, which is way more “sad-boy” than I was expecting. Bold choice as an opener. How this didn’t set you up for a personal-best at the kettlebell station, we will never know.
Overtime
ES: As discussed in our last broadcast, emo rules dictate that you must put a SLAPPER in the second slot. This falls just short of that, but the song is catchy and I’m happy to hear a trumpet in the mix. I am, however, wondering if I’ve got Zach Bryan all wrong. Zach Bryan may not be a rise-and-grind album, but ‘Overtime’ is definitely a grustler’s anthem.
DZ: I will touch on this more as we move through the songs, but I do think this is an album which lacks in slappers. ‘Overtime’ is as close as we get, however, so I don’t think it disproves your second song rule. Anthemic and ready for a stadium sing-along, if not quite hitting maximum overdrive.
Summertime’s Close
ES: One time, when Leah and I were on vacation, we were drinking beers and Zac Brown Band’s ‘Chicken Fried’ came on shuffle. I had never really paused to consider the lyrics before. When it got to the part about “The Stars and Stripes” I got a little misty-eyed. Under similar circumstances, I suspect this song could produce the same result. His upper register sounds so good.
DZ: I love that the above story is making its way into the public domain. I quite like this one – really pretty harmonica and a familiar, but effective, story of love and loss. Agree that his voice sounds great here. This album is full of more slow and mid-tempo tracks than I’d like, especially considering its 16-song runtime, but this one works for me.
East Side of Sorrow
ES: The banjo is giving Mumford and Sons but the trumpet is giving Cap’n Jazz so we’ll call it even.
DZ: If calling it even means calling it mid, then I’m with you. This is fairly successful in speaking to a universal human experience (grappling with loss and finding a way to carry on), but musically it’s pretty flat.
Hey Driver (feat. The War and Treaty)
ES: It’s probably a coincidence but is there any chance this song is a secret ode to American hard rockers Guns N’ Roses? Like, consider the chorus:
“So take me down a road that's a little bit windy /
To a place they still put sugar in their iced tea /
Where the women are fine and the love is fair /
Hey, driver, you can drop me off anywhere /”
My brother in Christ you are describing Paradise City!
DZ: Ethan, these fleeting moments of hilarity (and in this case, insight?) are why I remain your friend. Yes, this song is what happens when GN’R takes a country road trip and forgets their electric guitars. I wouldn’t mind a bit more electricity in this one.
Fear and Friday’s
ES: A few weeks ago I highlighted Mom Jeans.’ ‘Hippo In The Water’ for being a triumphant study in short, maximalist song-writing. Clearly Zach Bryan reads the newsletter because he’s doing something similar here. Three choruses and a guitar solo in under 3 minutes. Fuck yeah, dude.
DZ: We’re on the same page here – this one is the true banger and probably the only song on this album that I will consistently come back to as a standalone track. Also, you forgot to mention the harmonica – never forget the harmonica!
Ticking
ES: Something weird is happening in this song. I can’t put my finger on it. I think the tempo changes in the chorus and makes the whole thing feel a little disjointed, which is a shame because the verses are great. Dat voice crack makes me wanna take up smoking.
DZ: Interesting. I hadn’t noticed the tempo change in the transition to the chorus, but it’s definitely there. Really pretty bridge and violin. Otherwise blends in a bit among the balladry.
Holy Roller (feat. Sierra Ferrell)
ES: Lord, give me a good woman, an endless prairie sky, and Zach Bryan on the speaker so I might die a happy man. Country music for your grandpappy – but I’m not complaining.
DZ: Really pretty vocals from Sierra Ferrell. I could do without the religious overtones (but can forgive them in the context of the song). Definitely pulls some nostalgia strings in this former ‘Berta boy’s heart.
Jake’s Piano - Long Island
ES: I’ve mentioned his vocals a couple times, but Zach really is a great singer. I’m sure other people have done it to some extent, but I really like the way he’s pushing the boundaries of what a country vocal sounds like. Like, he’s singing country in a midwest emo sort of way. The imperfections are what make it interesting.
DZ: Agreed on Zach’s vocals – I think this may be the best showcase of his vocal chops. There’s also relatively sparse use of piano throughout this album, which gives its lead role on this track some extra punch.
El Dorado
ES: I just know you are going to love this one. It is stupid and schlocky and indisputably catchy. If the whole album sounded like this I probably wouldn’t fuck with it, but it works here.
DZ: You think you know me? Well, I guess you do, because this is one of the other ‘bops.’ I use this term loosely, as this remains relatively mid-tempo/low-key. But on an album that takes itself pretty seriously, Zach has earned some schlock. Just enjoy it!
I Remember Everything (feat. Kacey Musgraves)
ES: Mark my words: Zach Bryan will win a Grammy for this song (he secured 4 nominations for February’s ceremony). If the producers are smart they will also tap him and Spacey Kacey to perform. It’s a no brainer.
DZ: I am happy for you to manifest this into existence. Please just inject anything with Kacey (one of my perpetual annual ‘top 5’ Spotify artists) directly into my veins. A well-deserved, albeit surprising, critical and commercial success.
Tourniquet
ES: Something I like about Zach’s song writing is that it’s quite spartan. He’ll repeat parts but with different dynamics or instrumentation. That said, this one is a titch Jason Mraz for my taste.
DZ: Now that you’ve mentioned the Jason Mraz comparison, I can’t un-hear it. Not one of my faves, but has a really nice guitar solo and build into the last chorus.
Spotless (feat. The Lumineers)
ES: Bro, remember The Lumineers. HEY! HO!
DZ: This one could’ve been on the cutting room floor.
Tradesman
ES: The most mid song on the album. It’s not bad by any means, but it could have been cut for time and I wouldn’t miss it.
DZ: Yes, I think this one (along with ‘Spotless’ and ‘Smaller Acts’) are the weakest run on the album. At 16 songs over 54 minutes, Zach Bryan could’ve used some editing. Remove those songs and the album is suddenly way more efficient.
Smaller Acts
ES: Who let a parrot into the studio? What is this bird ass song? Why is it so annoying?
DZ: Is it weird that I kinda like the bird? At least it gives this song some…something? Otherwise see my note above.
Oklahoman Son
ES: And he sticks the landing. Maybe it’s the gentle organ, but I’m realizing Zach has more in common with Brian Fallon and Bruce Springsteen than Bright Eyes and Bob Dylan. Who says white boys can’t sing soul?
DZ: It took you 16 songs to mention Springsteen and Brian Fallon! I agree that this sits more in the Springsteen-americana realm (something I wish was more abundantly present on this album). This does end the album strong, and is another impressive vocal track. I’d be lying if I didn’t say I wished for a little more gusto to close everything off - maybe a bit more Gaslight Anthem (a la Fear & Friday’s) than Brian Fallon solo.
Ethan’s pick: HELLMODE by Jeff Rosenstock
Intro
ES: He hates to admit it, but many of Dan’s favourite bands were recommendations from yours truly. PUP? The Wonder Years? That was all me. The minute I heard HELLMODE I knew he would fuck with it heavy, and that it would be fun to talk about.
DZ: Other than Ethan telling me that he “thinks I’ll like this one,” I’m going into this totally blind. Let’s see if he’s right!
WILL U STILL U
DZ: From the jump I’m liking what I’m hearing; the self-deprecating/anxious lyrics start this off right in my lane (i.e. angsty emo-boy vibes). The song begins a bit mellow but builds into a hectic pop punk production. It’s super fun and all over the place. One thing I really like about this album is how dynamic it is throughout, both between songs and within each song. ‘WILL U STILL U’ is a great example of that. I love the build of the ‘Will you still love me?!’ refrain, and how it goes from Jeff quietly singing at the start, to the huge gang vocals at the end. I hate to admit it but I think Ethan may be on to something with this one…
ES: This song is like a double shot of flaming espresso straight to the dome. If this is hell, I don’t ever wanna go to heaven.
HEAD
DZ: Love the seamless transition between tracks one and two; it reminds me of PUP’s The Dream is Over. We covered this in our last discussion but brevity in pop punk songs can be such a strength. This is 1.5 mins of pure energy and fun centred around themes of anxiety, mental health and general discontent with society/life/everything. Absolutely love the opening yell-singing transitioning to the first chorus of just singing-singing. Banger.
ES: You may have discovered this in your *deep* HPR research but Rosenstock is pals with those Toronto PUP-ers, to the point they’ve toured and performed together. As for the song, it’s a certified second slot SLAPPER. A controlled demolition that is a delight to witness; equal parts quirky and catchy.
LIKED U BETTER
DZ: I was already sold after the first two songs but this one really captured my attention; not that the first two weren’t catchy or high-energy, but the chorus of this one is just so big. Lyrically this continues with the directness and high angst, which I love. And just when I was already all-in on this song the guitar solo kicks in, the final chorus brings it all home with some new back-and-forth vocals and elevated dynamics. *Chefs kiss*
ES: This is definitely the most straightforward song on the album thus far, but that doesn’t mean it’s dull. In fact, I think Rosenstock is doing something masterful here. On the surface, this almost reads like a break-up song, but really it’s Jeff reflecting on his mental health and how he manages to function day-to-day. We stan a relatable king. OI OI OI!
DOUBT
DZ: Four songs in and this is the longest by far, at around 4.5 mins. Adding to the contrast, this one takes time to build. After the relentless energy of the first three songs, I think it’s nice to give the listener some breathing room. The first verse/chorus is a real head-bobber, but again, it gradually crescendos into something that ends with a huge finale (Jeff yell-singing and gang vocals back in action). We’re 4 out of 4 so far.
ES: I feel like you’re mentioning dynamics enough for the both of us, so let me just say I love the songwriting here. Every square inch of HELLMODE is packed with riffs, hooks and assorted ear worms. This is all the more interesting when you consider that time, and specifically lost or wasted time, is a recurring theme here. At the risk of reading too deep into it, I feel like Jeff is someone who never wants to waste a moment.
FUTURE IS DUMB
DZ: I was already hooked from the first four songs and then this one came in and smashed it out of the park. Lyrically, this one is less personal and covers more angst at the general direction of the world, which is not something I would usually prefer, but it works quite well here. Jeff also pulls out one of my favorite tricks in the pop-punk book, quietly singing the bridge initially, then transitioning to a huge screaming version of the same bridge, to close out the song. For me, on an album full of great moments, this part reigns supreme. So catchy and so fun.
ES: It’s interesting because I agree that this one is less personal and, initially, I felt like it was a tad generic. But the back half really opens up, and I love the “doot-doot-da-loot-da-doo-da-loo” melody at the end. Also, I’ve spent a lot of time big upping Jeff but all of his collaborators, including John Dedomenici (Bass), Kevin Higuchi (Drums, percussion), and Mike Huguenor (Guitar), deserve a shine. You might say HELLMODE is other people.
SOFT LIVING
DZ: Thematically, this one transitions quite well from track five, in that it covers the struggles and pressures of daily life, and the yearning for a ‘softer life’. This song is just so Weezer - and I mean as a great compliment. In particular, ‘SOFT LIVING’ feels like it sits in a void between the Blue Album (think the crunchy guitars from ‘In The Garage’) and Pinkerton (those squealing sounds at the beginning are ripped straight from ‘Tired of Sex’). Not one of my faves, but still a good song on a great album.
ES: I’m so happy you mentioned Weezer. This is the closest anyone might come to capturing that Pinkerton-vibe. All of the distorted synth-y goodness, none of the problematic Japanese school girl fetishization
HEALMODE
DZ: This is ‘the slow one’ and, in that regard, I think it fits well at this point in the album. ‘HEALMODE’ is a nice respite from the crunch and messiness of the preceding tracks. I quite like Jeff’s lyrics here, the hyper-specificity paints a really vivid picture of various moments of contemplation. I also like the pretty female vocal accompaniment. A pleasant track.
ES: For some reason this reminds me of ‘Hey There Delilah.’ But the period when ‘Hey There Delilah’ first came out and kids really loved it. Would not be surprised if it inspires a bunch of fifteen year old pop-punkers to pick up the acoustic.
LIFE ADMIN
DZ: This is a fun and bouncy track that gives me strong Motion City Soundtrack vibes (you can’t convince me that the “spider eggs” line is not an MCS lyric). Again, the guitars are so Weezer (along with the relatively monotonous singing). As someone who often gets overwhelmed by the endless barrage of notifications and things to do in daily life, I’m on Jeff’s side for this one. A fun track, if not the most substantial one.
ES: I don’t really hear the MCS connection but I’m sure it’s there beneath the sheer Rivers Cuomo-ness of it all. This song may not be substantial but I actually think it’s one of the record’s most versatile, in the sense that I could recommend it to almost anyone so long as they like music with guitars. I also disagree about the vocals being monotonous. The chorus melody is full of twists and turns.
I WANNA BE WRONG
DZ: At the start it seems like this is Jeff attempting a straight forward pop-punk song but ‘I WANNA BE WRONG’ levels up when the Moog synthesizer (??) enters the guitar solo/vocal bridge layer ahead of the last chorus. A nice shot of adrenaline in the back half of the album. Another really fun one.
ES: I don’t think Jeff is capable of writing a cookie cutter Chune, but I agree this one lacks some of the twists and turns of the other tracks. That said, the guitar tone sounds really good.
GRAVEYARD SONG
DZ: Absolutely love this one. This is another example of Jeff letting a song breath and build, with the pretty acoustic guitars at the start giving way to an eventual first electric guitar solo (with a more mellow backdrop than prior guitar solos on the album) and a second guitar solo (with a heavier backdrop - again, the Weezer influences are all over this album). Couple that with a gang-vocal-filled chorus and killer bridge and you have another album highlight.
ES: Dare I say… This bridge kinda reminds me of the Beastie Boys. So snotty and self-righteous in the best possible way. A great penultimate track.
3 SUMMERS
DZ: The 7-minute epic closes the album in spectacular fashion. This one covers nostalgic lyrical themes, specifically the passing of time and inevitability of aging over ‘3 Summers’, which I think is quite interesting. Musically, it stays engaging through the full runtime, including an almost fake-out ending two-thirds of the way through, before building back up for one more climax. The ‘woos’ and the fadeout close out the album in a wistful way, which actually left me kinda emotional on a first listen…
ES: I’m so happy this album resonated with you. The more I think about it, the more I want to see Jeff Rosenstock collaborate with a big name artist. Not saying he should go after Olivia Rodrigo, but clearly there’s a precedent for that sort of thing. If Rivers Cuomo and Dan Nigro can do it, surely he can as well. Dare I say the Billboard charts would benefit.
Proper Chunes, Proper Chum
Dan → Chunes: “Fear and Friday’s” / “FUTURE IS DUMB”
Dan → Chum: “Spotless” / “HEALMODE”
Ethan → Chunes: “Fear and Friday’s” / “I LIKED U BETTER”
Ethan → Chum: “Smaller Acts” / “I WANNA BE WRONG”
Closing argument
DZ: Musically these two albums are starkly different, but I think they both excel in their storytelling. Zach and Jeff both use musical landscape to convey deeply personal narratives and emotions. In terms of Zach Bryan, I think you have a 10-song ‘all killer no filler’ moment with a bit of editing. Otherwise, the album shows lots of promise and I will definitely check out whatever Zach does next. In terms of HELLMODE, I haven’t been so engrossed by an album from a new artist/band (to me) in a long time. Absolutely loved it from start to finish. It was difficult to pick the Proper Chum. Not sure how Ethan will top that choice any time soon.
ES: One thing I’m noticing as we do this more is that I tend to think of songs in relation to other songs. But I think it’s interesting, when appropriate, to consider the albums we pick in relation to each other. Maybe I’ve spent too much time in the newsletter but I think Zach Bryan and Jeff Rosenstock compliment each other nicely. In particular, I’m struck by the fact that these two cowboys have traversed the “DIY to more polished studio album” pipeline. Surely they’d have a lot to talk about at the saloon.
Comments, criticisms, collaborations? Bang the inbox – ethan@humanpursuits.org