The Halem Albright Band’s newest album, “Blue Moon Confessions” is titled perfectly – it really is the late-night album you need for all your introspection, love confessions and quiet contemplations. Mixing soulful jazz with the occasional country twang or techno sound, “Blue Moon Confessions” is perfect.
The album starts out strong with “Come Back”. It begins with pounding drums and a smooth electric guitar, setting the tone for an ethereal and thought-provoking album. While this song may encourage listeners to ground themselves and “come back to earth” as the lyrics say, the rest of the album feels like floating through a hazy dreamscape. Next, “Lost In The Breeze” continues the smooth, jazzy vibes that “Come Back” begins with, this time with a slight island twang. “Lost In The Breeze” wants listeners to enjoy the ride and the memories being made along the way. The song captures the feeling of desire and longing, and the encouragement between partners about strengthening a relationship through continued work and connection.
“Neighbor Take Flight” moves listeners to a space of chaos, starting out with a hectic drumline, followed by a strong guitar. The track lacks vocals, rather choosing to focus on showcasing the musical talents of the band’s members.
“Cheyenne” brings listeners back to the soulful longing of “Lost In The Breeze”, detailing the desire to stray and be out in the world, but constantly needing to return to the one you love. The song makes use of a slight country tone, following after the greats of country music with gritty, soulful vocals filled with longing and desire.
Then, “Some Kind Of Life” flips the script entirely, bringing listeners on a techno-jazz journey, with slight undertones of that island twang that “Lost In the Breeze” introduced. The background vocals bounce from ear to ear, making the listener feel enveloped in the music and lost in the moment. “Tower Of Hope, Crashing” continues with that techno-jazz sound, but cools it down a bit, adding in some repeated female vocals to compliment the male singer perfectly.
“Sum’a Baby” is carried by its funky background bass, offering listeners a somewhat psychedelic vibe. The song is more low-key, allowing listeners to melt into the moment. The sound moves back and forth between headphones, making the song move all around the listener in a smooth, mind-bending experience as the retro synths and sultry vocals twist around you as the song comes to a slow, satisfying end. “Sendoff 14” continues that psychedelic tone, but moves the listener to a place of late-night introspection. The song focuses on the singer’s desire to remain in a relationship but knowing leaving is for the best, begging their partner to let them go and send them off. The song perfectly captures the feelings of despair that come with the end of a relationship, while also highlighting the hope that follows once you realize better things are to come once this moment has passed. “Burgundy and Gold” follows those breakup vibes, with the singer reminiscing on the better times of a relationship, hoping to stay in those times, even if only temporarily. This song feels like a response to “Sendoff 14”. “Sendoff 14” feels as though the singer knows a relationship is over and is looking forward to the future, knowing they will think of their past relationship fondly, while “Burgundy and Gold” feels as though the singer is hoping the relationship can hold on just a little longer, even if it must end eventually. “Burgundy and Gold” is heart-wrenching and stomach-churning in all the best ways.
“Blue Eyed Ram” takes a sharp turn from the rest of the album. The song is darker, a little scary, and haunting with deep vocals. Where the rest of the album feels like an ethereal dreamscape, “Blue Eyed Ram” is a nightmare – and, surprisingly, one you want to get stuck in. The song stands out, hypnotizing the listener and demanding to be contemplated.
Moving on to “Not Yet”, listeners are gently whisked back to the dream with a chilled background track and a passionate vocal track before being delivered to the country, homey vibe of “God”. The song skips along with a twangy guitar and bright, folksy vocals, it is the only acoustic song on the album, causing it to stand out in all the best ways.
Finally, the album wraps up with “Werewolf on Strike,” which pulls in all the sounds from the album, culminating in a warm send-off. The song details the struggle of letting others in, but somehow finding that one person who makes it easy.
The album is experimental, showcasing the band’s wide range of musical talents and proving that The Halem Albright Band is a force to be reckoned with.
Written by Madeline A. S. Kilness