This post was updated Nov. 4 at 11:08 p.m.
Mitch Rowland steps to center stage with his sophomore album.
While “Come June” was a vulnerable project presented as if overhearing a personal conversation, “Whistling Pie” is meant to be shared with the world. As a fight against the passage of time, it seeks to encapsulate life’s seasons. Rowland’s new album, released Sept. 12, is emotion-carried, from melody and lyricism to production, and exudes a confidence absent from his previous LP.
Following a project intended to be an easy listen, Rowland’s new album crafts a multifaceted experience that immerses the listener, a tone set right off the bat with the opening instrumental track “Cabin.” As its name suggests, the eerie melody is accompanied by a nature-like feeling reminiscent of entering an enchanted atmosphere.
The transition between “Cabin” to the first vocal track, “One In One Out,” is somewhat abrupt, breaking the magical tone created by the first minute of the album in a way that seems unintentional. This, however, can be overlooked by indulging in the first song. “One In One Out” has a pleasantly familiar sound more in line with the artist’s earlier work, particularly the song “Medium Low.” Tapping into a more classic rock sound compared to his previous folk album, “One In One Out,” is a soft launch to the new sounds found in the artist’s new 13-track project.
Listeners do not have to wait long to encounter Rowland’s fresher sound. Following the first song, “In The Morning” introduces a bouncier tempo never previously encountered in the artist’s discography. Embracing the outlaw country genre, “In The Morning” is the album’s first bop, showcasing the singer-songwriter’s surprisingly lower register – somewhat unknown to his listeners. Yet the song maintains Rowland’s distinctive guitar, similar to that of British folk artist Bert Jansch, whom he has often referred to as an inspiration.
[Related: Album review: Sabrina Carpenter’s “Man’s Best Friend” lacks deft lyricism, fresh perspectives]
With “Take 2,” the artist begins the gradual departure from the minimalistic sound of “Come June,” indulging in an indie/alternative tone, with a down-strum pattern that is reminiscent of an early boygenius song. “You Could (Be Good)” and “Nothing Is True” maintain the album’s chill mood while contrasting with topics of self-doubt and life changes, such as diving into parenthood: “Take a step from your mother’s handbook / Under pressure / You and me in the world / You could be good.”
Continuing his collaboration with producer Rob Schnapf – who also worked with Elliott Smith – both songs maintain the layered instrumentation present throughout most of the LP’s production. Avoiding a monotonous sound through the slower-tempo songs, “Whistling Pie” experiments away from the voice-and-single-instrument combo characteristic of Rowland’s first project.
Lead single “Really Ready” was originally written in 2017 and re-worked for the new album. As the artist’s most pop-adjacent song, the single delivers a current indie-folk sound rather than a throwback as many of the other tracks do. However, one of the real standouts of the album is “Be Your Man,” also brought out from Rowland’s archive. The song leans as far as possible toward a rock ballad, as a folk-rock song is able to do. With a prominent electric guitar as the lead instrument, the strings heavily carry the song’s sentiment of hoping to grow old with a partner, as well as fearing time’s effect on a relationship dynamic – “And if times a stable hand / Oh I’d love to be your man.”
But after a high, there’s always a low – regardless how insignificant. “Do It For Real” might be the only song where Rowland’s new production was unnecessary. The song’s base beat seemingly struggles to mix with the layered instruments, appearing impossible to drown out. Whether this is an issue or not, this specific element may cause some listeners to be overly aware of the song’s production in a distracting way.
[Related: Q&A: Mitch Rowland talks origins and creative process of debut album ‘Come June’]
Preceded by the 29-second interlude “Carrot & Wine”, an homage to Rowland’s family life, “Carry On With Your Tea” starts off as a true folk song reminiscent of Joan Baez. The music evolves into a Led Zeppelin-esque song with some gothic elements in the second half, truly capturing the duality of genre seen throughout the album.
As for the last two tracks and the two latest-released singles, “Honeybabe” and “Standard Size Knife” provide a sonically upbeat conclusion to “Whistling Pie.” “Honeybabe” is a groovy, piano-heavy song right out of a movie soundtrack, fittingly accompanied by Rowland’s first storytelling music video.
The closing track encapsulates the album as a whole. Featuring both an acoustic and an electric guitar, “Standard Size Knife” mixes the folk element of the singer’s debut with the rockier sound of both this new project and his previous work as a collaborator, such as his guitar solo in Harry Styles’ “She.” With a cheerful beat and darker lyrics, “Oh yeah are we dying alone / Hip hip are we dying alone,” the LP’s closing track can be somewhat difficult to decipher. Whether meant as a daunting possibility or a matter-of-fact statement, Rowland captures all the fears and joys of life into the perfect album closer.
With each song more different than the other, the album manages to be a cohesive project, demonstrating Rowland’s growth – from creating easy-to-get-through music to an album that deserves the spotlight.
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