Album Review

Wastelander’s New Album “What is Left of Me”

From the poetic folk-rock rundown that we encounter in “Get Older” to the more eclectic feel of “Room Full of Elephants,” the pastoral qualities found in “Broken Leg,” and simplistic melodicism of the rather rousing “Never Trust a Man,” there’s scarcely a moment in Wastelander’s new album What is Left of Me where veteran singer/songwriter Cooper Formant doesn’t sound completely at ease in the recording studio. It can be said that he’s turned in some quality work before now, I think that this latest effort might just be the most confident he’s ever sounded. Under the Wastelander moniker, Formant goes out of his way to reject the filler that many in his age group have come to lean on when crafting a new album, instead favoring a concept that gets back to the basics of folk-rock rhythms and haunting new school harmonies while still allowing himself to explore his depth as a songwriter and arranger. The aptly titled What is Left of Me covers a lot of ground both emotionally and artistically, and I think it’s this player’s most intriguing work to date.

The tempo is as expressive as any of the melodies are in “I Just Want to Be Your Friend (featuring Erin Rae),” the mildly restless “Figure it Out,” superbly paced “Caduceus” and the churning yet wistful “Be Where (also with Rae),” and from where I sit, I think it was important to make it as prominent a feature in What is Left of Me as it wound up being. There’s a great warmth to the fretwork we find throughout this tracklist, and honestly, had the rhythm not been given a little extra panache from Formant, I’m not sure that this record would feel as multidimensional and versatile as it does in this particular instance. Formant’s vocal is challenged for authority over the harmony in “Natural Light” and the similarly absorbing “Get it Right,” but even when the backing instrumentation is giving him a serious run for his money, I don’t believe there’s ever a moment in this LP where he isn’t sounding like the true star of the show from top to bottom. What is Left of Me sports a terrific production quality, but it’s clear to me that all twelve of its obstinate songs would likely sound just as charming in a stripped-down arrangement as they do here.

If what I’m hearing in this latest release from Cooper Formant is essentially just a taste of what he’s planning on filling this unfolding chapter in his career with, then I think it would be safe for his fans and critics to assume that he’s far from finished as a singer/songwriter. Formant has magnificent energy and enthusiasm in this album that is reminiscent of some of the best singers to pick up a guitar, and if he’s able to bring the same trademark tonality he’s injected songs like the title cut and “As You See” with here, I believe he’s going to see a lot more success on the mainstream side of the industry than he has in previous outings in bands like the Fluids. He’s not necessarily breaking any rules in What is Left of Me, but he’s signifying some outstanding consistency as an artist.

Christian Gardenhire

Tweet LinkedIn PinShares0

Related Topics:album review folk rock wastelander

Up Next

It Seems NBA YoungBoy is Reacting to Drake’s Supposed Insult

Don't Miss

Audience members claim Drake deceived them regarding Nicki Minaj not appearing in the “For All The Dogs” collaboration

Honk Magazine

Album Review

Mt. Kili Mt. Kili delivers quiet power and honest reflection on “The Noticer” (album)

Mt. Kili’s latest album, “The Noticer,” is a warm, contemplative acoustic folk album that finds beauty in the minutiae of life itself, as calm and bare as anyone would call it. Songwriter Rick Sichta of Asheville leads the project with delicate instrumentation and outspoken lyrics, bringing forth an experience that can be both personal and universal.

Recorded at Echo Mountain Studio in Asheville, the music is refined and mastered by Grammy Award-winning Julian Dreyer and David Glasser. The current lineup still embodies this vision, with Matt Shepard holding down a heavy rhythmic backbone and Laney Barnett’s violin and vocals rounding out the sound, creating emotion.

There is a story and emotion hidden within each track. The EP opens with “Don’t Start a War,” which opens contemplatively, begging for peace rather than war. The title track, “The Noticer,” exudes a sense of awareness and the beauty of watching life unfold. “The Rain Song” features a soothing, near-meditative vibe.

With a hopeful reflection, “The Road Isn’t as Long as It Seems” is about perspective and perseverance. “Her Song” is pretty much a musical love letter, and “Kyle” is defined by its character-driven narrative. With “The Weather Report,” the change of feeling is reflected, while “Scars “ and “Strawberry Fields” hint at memories and softening imagery. “All in Good Time” concludes the record patiently, a soothing sigh of comfort. “The Noticer” is a reflective album with a soft reminder that sometimes the smallest moments mean the most.

Connect with Mt. Kili on | Spotify

Tweet LinkedIn PinShares0

Album Review

Tita Nzebi bridges heritage and humanity with new album, “Réminiscence”

Tita Nzebi is back with “Réminiscence,” her latest album, consisting of 10 tracks recorded in renowned studios across Paris and mixed with great care at Real World Studios. The Gabonese album has been part of a diverse international catalog and is rather well-produced. With arrangements and production by multi-instrumentalist Leny Bidens, the album reflects a long-term collaboration.

“Réminiscence” is about the beautiful messiness of being human, blending spirituality and social consciousness. The album opener, “REMINISCENCE,” is a contemplative meditation on memory and transmission that establishes the album’s emotional arc. “KEK’DA,” adorned with textured rocks, embodies concepts of spiritual growth in an earthy yet airy way. With “MBAMA Scène,” connection and cultural continuity are rendered in a magnificent current, wrapping that listening journey up with a powerful assertion.

“A’TA” offers a more complex perspective on wisdom, and “31 AOÛT” explores the concepts of time and memory with greater depth. “ARROGANCE” is an inward gaze at ego, and it pulls elements of bold music together to stoke social tension. Every song here has its own tale to tell, but they all effectively tie back together under the broad-stroke identity themes of freedom, memory, and dignity.

“Réminiscence” is an artistic manifesto, and much of what Tita Nzebi does honors its past while still feeling very much rooted in global sounds. The record serves as a reminder to listeners of the connections that gave rise to identity and collective memory.

Connect with Tita Nzebi on Spotify | Instagram | X | Facebook