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

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Brynja Rán finds clarity in complicated relationships on “Unblurred” [album]

It can be hard to see when a relationship no longer meets your emotional needs, especially when affection, uncertainty, and repeated disappointment are hard to untangle. “Unblurred,” an album built on the bedrock of emotional unavailability, recurring conflict, and the slow dawning that a relationship might need to end, is where Brynja Rán unpacks that difficult process.

The ten songs follow the arc of attachment and frustration, weaving together the story of someone trying to figure out what they deserve. The focus track, “Unblurred Lines,” hits on the album’s central concept. This is when the veils begin to fall, and the person is more ready to see the partner’s behavior for what it is. The song is musically rich, with an acoustic and electric guitar soundscape, synthesizers, bass guitar, drums, and additional instrumentation.

The surrounding songs view the same emotional landscape from different angles. “Cowboy Wannabe” explores a partner masking insecurity with a detached personality, and “Deja Vu” captures the frustration of arguments that go round and round without changing anything. “Adore” is about ignoring red flags when you’re that into something, and “Cherry” is about the temporary comfort of being in a relationship that just isn’t right.

The album opens up by looking at borders and the need for real connection. “Make Me Feel” is about wanting to be loved, and “Until” is about how long you should stay in the twilight zone. “Still Stuck Waiting” captures the frustration of waiting for communication and commitment. “Don’t You Leave” begins with fear of abandonment and moves toward healing, while “What Else” ends the record with emotional exhaustion and a desire to move on.

Rather than treating every experience as a one-off event, the tracklist of “Unblurred” attempts to create a single image of relationship troubles. With this release, Brynja Rán explores unhealthy patterns, boundaries, and getting the clarity to choose a different path.

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Album Review

Legends of the Seven Golden Vampires explore healing and personal growth on “The Pumphouse of Broken Dreams” [album]

Albums often have a strong sense of identity, with songs linking to a broader emotional and musical direction. The nine-song album “The Pumphouse of Broken Dreams” by Legends of the Seven Golden Vampires, featuring Dutch vocalist Ilse Van Der Linden front and center, is more cohesive.

The band’s melodic psychedelic pop offers a welcome counterpoint to a project that explores recovery, longing, uncertainty, and personal growth. The tracklist is an emotional journey. “To Think, To Heal” starts with the idea of mental healing and moving on from the past. “Flying” is more of an escapist wish to escape the pressures of day-to-day life. “Come Home” is about finding comfort and belonging.

“Here I Am” is about self-awareness and openness. Together, these early songs form an album about finding stability and processing difficult experiences. The middle ground is more emotionally layered. “Hopelessly Devoted To You” is about being attached all the time, and “Lost & Burned” is about being worn out and the results of hard experiences. Then there is “In My Dreams,” which turns into memory and unfulfilled wishes. Later, “AIR” brings the need for freedom, air, space, and a new start.

It ends with “BLEND,” a combination of psychedelic, shoegaze, and electronic influences. The release also includes another visual element from Gareth Halliday, who also worked on Noel Gallagher’s High Flying Birds Who Built The Moon. “The Pumphouse of Broken Dreams” has softer vocals and a range of emotions. This album is deliberately constructed, moving from reflection to acceptance without losing the variety of experiences it tackles.

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