The road to musical self-actualization

Indie rock’s token Kerouac, Steve Gunn, has released his 4^th studio album titled The Unseen In Between, which accurately describes his ever-expanding depth in songwriting. Formerly a guitarist for Kurt Vile’s backing band, The Violators, Gunn’s fifteen-year career has begun to take shape as he continues to produce works which seem to reflect more and more of himself. Having a somewhat underground following, Gunn has recently been heralded rock’s “best kept secret” by Rolling Stone. So why has his work been kept under wraps?

Previous solo albums by Gunn date back less than ten years ago and place large emphasis on his astounding grasp on how to best manipulate the acoustic guitar. This time, however, his work seems to communicate more with much less grandiosity, which listeners may or may not enjoy. While still retaining a similar sound, The Unseen in Between showcases his newly perfected ability to communicate narrative in a way that’s altogether short and sweet.

Flowing like poetry, the lyrics on this album act as a personal space for Gunn to “explore his own emotional landscapes,” as recently mentioned by Gunn himself. Invoking fresh allusions to the classic folk sounds of Bob Dylan and Fleetwood Mac, Gunn uses this record to step away from his tried and true acoustic intricacies, while still placing the utmost importance on perfect synthesis of musical composition by including electric guitar, flutes, strings, piano, tambourines and even a shaker in most songs.

He uses these to manifest the complexities of the life of a wanderer. Singles “New Moon,” “Stonehurst Cowboy” and “Vagabond” all depict stops on his path to musical and personal enlightenment, as the first speaks of love that hits the ground with a violent and thunderous rumble “ringing upon his head,” a condition well known by lovers across the universe. In “Vagabond,” Gunn tells of the Kerouac hustle when he speaks of a “night so cold, but it feels so free” and “work that remains unsold.”

“Stonehurst Cowboy” and “Chance” share memories of old neighborhoods and better days as the clouds roll back in, which they sometimes do. This somber sensitivity both lightens up and carries on in “New Familiar,” “Lightning Field,” “Morning is Mended” and “Paranoid,” where he continues to bear his soul while captivating listeners with a newly optimistic outlook on the turns that life can take.

Altogether, this album has the potential to evoke personal memories of previous cities, people, feelings and circumstances in one’s life as Gunn shares his own with deep reverence and a fresh open-mindedness previously unseen in his earlier work. As for 2019, it seems to be the perfect album for reflecting on past experiences while still learning from them and looking forward to a new type of familiar. Listeners, take note.