Alone in a World of Wounds by Steve Von Till can not be placed in a single genre. Von Till’s work is this way: he meshes ’60s country rock with synths and adds a heavier tone. Throughout the record, you could pick apart many elements in each song and appreciate them individually. There is always his voice, and there is always a feeling being given through the production.

An eerie sound escapes Von Till’s synths and symphonic elevations. The record opener “The Corpse Road” shakes and twists as numerous instruments are used for this production to elevate every last feeling in every single note.

The beauty of this record is the unknown, which is lovely and unsettling at the same time. True to Von Till’s substance as a musician and poet, the flows and cuts of random sonic elements will keep listeners on their toes, unaware of what exactly they are listening to.

Lyrically, Von Till emphasizes everything with his elongated vocals and deep baritone range. In “Distance,” the production is sustained playing chase ever so subtly with his voice as he lays out his lyrics, “Let’s just say nothin’ at all / I don’t believe in sin / I have succumbed to the light.” Underneath all this is flowing water and a soft rock pulling everything together.

“The Dawning of the Day (Insomnia)” is true to Von Till’s poetry roots, as he speaks about the end the whole time. “Will the day be of weeping? / Will the day be of teeth? / Or will it be of indifference/ surging forward, or lying dormant? Will the day to simply be.”

Steve Von Till’s Alone in a World of Wounds is not for everyone. This record is for people who can sit with their thoughts and feel alone, embracing it through the eight tracks. This record is for people who like to close their eyes and imagine being blown away in the wind with their most profound thoughts in a void of darkness. It is portrayed beautifully.