A tale of addiction that mirrors the chaos and confusion of its subject matter with an eclectic mix of hazy and hard-hitting rock
I always hesitate to give too much precedence to an album’s backstory as they can often act as self-mythology rather than an actual reflection of the music. But you can’t help but hear how the story behind American Culture’s third album has shaped it. The Denver band have been fixtures of their local DIY scene for around a decade, but when COVID lockdowns forced that community into hibernation, it also cut off a support system for co-singer/guitarist, Michael Stein. Music had essentially provided the structure that allowed him to function around a heroin addiction for many years, but the collapse of that structure led to him literally going missing; ending up homeless and close to death in Vegas.
Hey Brother, It’s Been a While tells this story. Both through the eyes of Stein himself, and that of his loved ones wondering whether he was still out there as told via co-singer/guitarist, Chris Adolf. Oh yeah, I should probably have made clear that Stein was found; subsequently getting clean and re-joining the band. But this isn’t a tidy redemption story, the redemption never really comes on this album, instead it’s a reflection of that period of time; like a blur of contrasting emotions, which is reflected in the range of stylistic choices.
From the excellent ethereal shoegaze epic of the opener, they quickly move into Stone Roses-esque neo-psychedelia, and then continue to change direction on pretty much every track. The heavier shoegaze sludge of Body Double seems to mirror Stein caught in a haze, barely hanging on “underneath the streets of Vegas”. But perhaps the most impactful moment comes on Survive; a heartland-rock banger in the style of The Hold Steady, the juxtaposition of the upbeat tune and the nonchalant delivery of “I still don’t wanna live forever, But I think I’d like to survive” is quietly devastating.
The album is frequently dark as you’re given glimpses into Stein’s struggles, both literally and with metaphorical insights into his mind-state on the likes of Circle the Drain. But there’s also a surprising amount of light; glimmers of hope which never quite fade. The whispers of “We’ve been waiting for your call” on Break It Open play like the hallucinations of a salvation just out of reach. Or the choice to briefly channel The E Street Band on What I’d Do; offering up the promise of better times to come.
Hey Brother isn’t always a success; both halves of the album peter out slightly uneventfully and the eclecticism leaves it feeling a little disjointed. But, it’s an album which seems intended to be as messy as the period it was born from. For all the big moments of clarity, it’s also mired in confusion, doubt, and a creeping sense of despondency. That makes it a fascinating document of a bleak tale, in spite (and even because) of its flaws. But its real strength is in the moments of beauty rescued from the struggle; the love, humanity, and hope that stayed alive whether a redemption was ever going to come or not.
Rating:
Best tunes: Let It Go, Survive, What I’d Do
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