Midwestern Dirt, Indie Gold

For many artists, the cover art of any released work acts as a window into what lies in store for the listener. It can be a direct reference to the album’s title, a visual representation as to what the music manifests itself or one of the tracks, like in the case of Midwestern Dirt’s forthcoming album, Twilight at a Burning Hill. Although it could be taken and understood at face value, Twilight at a Burning Hill checks both boxes. The cover, while being exactly what the title describes, presents the same melancholy yet peaceful atmosphere that the music does itself.

For lovers of classic indie rock, including but not limited to Radiohead, The Smiths and Bright Eyes. This album truly is a treat. Never too similar to one artist or another, Midwestern Dirt definitely has a sound of their own that merely presents fleeting memories of other indie groups that they may have drawn inspiration from. The once solo project, now group effort, fronted by Patrick Kapp sets themselves apart by being true to what they believe their sound to be. They cross-breed traditional elements known to the genre and its founders, while also borrowing sounds and atmospheres from other genres by incorporating instruments not as well known within the circles of indie rock.

The fourth track “Learner’s Permit,” features a gorgeous collection of strings that accompanies the beautifully finger-picked guitar and its broken chords. Better yet, once more, the elements that the song has to offer layer themselves with Kapp’s vocals. A very delightful mandolin takes center stage, being the highest in range of the foreground instruments, making a very blue-grassy atmosphere for the remainder of the track.

The group is also very good at doing things the other way around. They put other instruments into the genre that they thrive in, rather than assimilating their makeup of instruments into a different genre. On tracks like “The Aaron Waters Show” and “I’m Tired, Robbie” the classic clean-tone indie style of guitar, played by Alejandro Ortiz, is doubled by a very gentle piano played by bandmate Owen Hemming, which is more than welcome in the mix and emphasizes the beautiful instrumental melody writing. The other members of the band, drummer John Golden and bassist Colin Mercer make themselves known on the record as well, serving as the highlights on multiple tracks including “Tidus” which thrives on its triplet rhythms, driving tom groove and bass riff. With every element woven together, it’s easy to forget there are multiple elements at all. Everything becomes so seamless and you forget about the art, the music and the meaning and are transported to the hill itself.