Album Review: Djo - 'The Crux'
Actor-slash-artist Joe Keery of musical identity Djo releases The Crux, an album rooted in allusions to old-school music with a heavy dose of his intelligent self-reflection and takes on modern society that leave long-lasting impressions.
Interweaving his personal history with an impressive musical disposition and a keen flair for songwriting, The Crux offers listeners a show-stopping selection of some of Djo’s best music so far. Naming The Cars as one of his biggest musical influences for his last album, this new collection of works only sees more of that influence take center stage. Finding a home in New York’s Electric Lady Studios, Djo’s work on The Crux wrapped up at this legendary music hub with the help of trusted collaborator Adam Thein. The work these two have done on The Crux is truly phenomenal.
Leading with ‘Lonesome Is A State of Mind,’ Djo contemplates his loneliness with a sweet acoustic intro. Despite the happy-go-lucky feel to the song, his lyrics show a pained edge. But still at ease with that air of playfulness and chirping harmonics, some powered-up drums come in for Djo’s closing statement: “The future's over, don’t drag me anymore, I’m done. No, you’re not lonely when you’re hangin’ with yourself.”
Released this January as the first taste of The Crux, ‘Basic Being Basic’ details Djo’s honest opinion on society’s obsession with chasing appearances to play ‘basic’ characters, as he pens in his pertinent songwriting. With glitchy, manipulated vocals, Djo shares sarcastic, punchy one-liners like the one that loops at the end – “What an empty epitaph that is” – while shedding light on the hollowness of today’s modern culture.
Drawing strong parallels to Bryan Adams and Bruce Springsteen in the intro and ‘70s rock group The Cars later on, ‘Link’ has the right kind of foot-stomping rhythm and driving electric guitar to get you moving. The overpowering guitar and the imitation sirens push out a momentum of forceful instrumentation. Sharing the experience of an exciting jailbreak, Djo yells, “Hey! Link’s breaking out of jail!” in celebration. There is certainly an element of performance in The Crux.
Taking on more of a folkish tone akin to the early days of Tyrannosaurus Rex, ‘Potion’ features a lilting rhythm with vocals of a higher register, heart-warming strings, and a playful acoustic. “I’ll try for all of my life just to find someone who leaves on the light for me,” Djo explains, asking for the simple things in love. This one has a lighter melancholy feel compared to the rest of the album, like a peaceful rest in between.
Djo throws us back in time to the ‘80s in his most recent single off the album, ‘Delete Ya,’ switching to a modernised version of old-school hits with big expansive drums and a throbbing bass to carry it all forward. His brilliant lyricism shines through in this one: “A heart excretes only one of us.” Who would’ve thought of writing something like that?! Sounding like the ghost of Ric Ocasek in the bridge, Djo demonstrates how he can weave modern pop with nostalgic ‘80s pop motifs.
Perhaps one of the most unique songs of The Crux, ‘Egg’ has different sections that seem to belong to scraps of other songs, revolving around sudden climactic stops and quieter sections with Djo’s Sprechgesang voice and synth-pop piano procession. In ‘Egg,’ Djo uses an ‘egg’ as a metaphor and shares a change in perspective: “I’m crawling out of my skin, saw me through the eyes of the world,” he admits while drifting in and out of musical landscapes. I hear a touch of Pink Floyd at certain points.
With a bright conversation between a buttery acoustic and a glimmering metallic synth, ‘Fly’ is where Djo reminisces on the past but has to commit to his onward flight; a segue of whirring bass perhaps signifies the backward motion he wants to take. The instruments almost act as hazy, lofty ideals ‘flying’ around the listener’s head. Most definitely a lean toward the psychedelic here and with what ‘Fly’ suggests.
‘Charlie’s Garden’ confirms Djo’s Macca fan status, undeniably incorporates late Beatles influences and is a definite nod to Wings’ ‘Uncle Albert/Admiral Halsey’ with the drum rolls, staccato piano, and drawn-out sections for harmonious vocalising. The addition of the recorded phone call highlights Djo’s eccentric creative process – I think this will be a definite fan favorite.
Feverish romantic temptation and head-over-heels infatuation make a scene in ‘Gap Toothed Smile’ with tastes of The Cars – again – and Bowie and Franz Ferdinand. Alluding to a well-loved Queen song, Djo sings about how Freddie Mercury says this girl is his ‘killer queen.’ With fuzzed-up guitar and a racing anticipatory climax, stopping at twenty-nine, Djo comes in for one short reprise.
Next up is ‘Golden Line,’ the album’s softer sentimental number with a dusty set of sweeping strings, a poignant piano with a chorus of voices, taking on more of a symphonious gospel-like form. Although ‘Golden Line’ may be softer in lyrical quality, it reaches a dramatic epicenter of gliding, gilded orchestrations as Djo shares his undying sentiments with us.
In ‘Back On You,’ the angelic choir indicates more of the same, but we’re due for a change: a rich ‘n groovy ‘70s bass line takes things in another direction, returning to yesteryear. A testament to the unbreakable bonds of brotherhood, Djo is ‘leaning back on’ this faithful companion. A forceful backbeat and a plunging electric guitar create an overpowering finale with a reverberating choir and a rapid-fire riff.
The title track send-off, ‘Crux,’ sees Djo’s Macca-Beatles fan status make a second appearance, and the richly toned piano adds a majesty to the conclusion of The Crux, growing louder with each chord. And “Get back to your heart” remains Djo’s final message, creating a hopeful yet wistful anthem to say goodbye to The Crux.
This impressive masterpiece offers listeners a different slice of a multi-faceted musical pie, each cut-out paying homage to musical acts from the ‘70s and ‘80s. Djo’s songwriting strikes me as highly intelligent and incredibly sharp, while he also finds room to play with allusions and allegory. I’m quite impressed – will definitely be keeping a close eye on his future releases!
Words by Sydney Kaster
