When not performing with his psychedelic indie funk outfit, PEAK, Brooklyn-based musician Jeremy Hilliard is writing an awful lot of extra material – so much so, that PEAK has quite enough already and could really use some time to digest. So, what to do with all that extra material? Well, my friends, that’s an excellent opportunity to release solo material, and Trouble for Another Day is Jeremy’s eighth collection, but first official solo album. So, is Jeremy’s latest endeavor comparable to the group of renowned, acoustic singer/songwriters listed as personal stylistic influences (like Bob Dylan, Neil Young, Leonard Cohen, Conor Oberst, Joni Mitchel, Kurt Vile, and Mac Demarco)? Let’s hit the highlights.
Wait. Who does what?
Trouble for Another Day features Brendan Hefty on drums, Marshall Norton on keys, Bethany Hilliard’s additional vocals, Josh Carter on bass, and Jeremy Hilliard tackling “everything else” (which I imagine means guitars, additional instruments, and lead vocals).
Who mixed, mastered, and engineered the album? That would be Jeremy, and with the help of his trusty, not-at-all-opinionated laptop.
Now, let’s hit those highlights…
The first track, “And We Say Goodbye to Ourselves,” is a mellow, low-tempo track with easygoing acoustic guitar, sliding, reverb-dipped electric guitar accents, and a simple, effortless, singing-poet-style lead vocal. And, if you’re digging this, you’re going to want to stick with me.
Track #3, “American Blue,” is a faster effort with more assertive drumming and acoustic guitar. This is something that perhaps tracks the passing of a train through vast desert flatlands; something mimicking the chugging rhythm of steaming machinery wrought with iron during the industrial revolution.
Track #5, “Swallowed by the Jungle,” features a more jazzy approach with an almost “All Along the Watchtower” chord structure. This has a nice head-bopping rhythm, the returning, color-dusting electric guitar, and a chorus with clean, wavering organ.
Track #8, “What Kind of Person Are You Anyway,” tries to define a person’s identity through more natural comparisons. This is a solid, upbeat track with an acoustic foundation and almost barrel-slapping percussion (which is totally the drums, but you can imagine this song being performed in the early 19th century when full kits were pure fiction).
Track #11, “Too Much of Everything,” features quickly strummed chords, subtle string staccatos, and an effectively funky application of bass. Accompanied by tasteful, elastic electric guitar notes, “Too Much of Everything” is a great changeup from the album’s more earthy palette.
Album closer “Arc of Night” returns to the more mellow acoustic structure, and I definitely hear CSN and other classic acoustic acts. This brief track maintains the dusty, open air feel permeating the album, and closes it gently with a final whisper across quietly yawning canyons.
But is it good?
It’s not only good, it’s immersive. There’s a consistency in the aural environment created by Jeremy and company – flat plains, grassy or scarred, and somewhere open, simple, and supportive. And once the train calls for your ride homeward, you might decide to remain exactly where the music put you. Recommended.
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BELOW: Listen to Jeremy Hilliard and check him out on Bandcamp, SoundCloud, Spotify, YouTube, Apple Music, Amazon Music, Facebook, and Instagram. Please support Jeremy by visiting him online and playing, downloading, and/or purchasing his music. And, as always, thank you for supporting real music.
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