Mayday 13 seemingly does not do things in half measure. His 2023 album ‘Dreaming Is Easy’ received favourable press and praise for its contemplative and reflective nature. Barely a year has gone by, and the artist, born Brian Hadley, returns with a tight set of 11 tracks that take his sound into new and interesting directions while maintaining some common threads.
The album title, ‘Cryptograms,’ is seemingly a portmanteau of the words ‘cryptic’ and ‘telegram,’ setting the stage for an auditory experience filled with sonic enigmas and hidden messages. This concept is brilliantly woven into the album’s fabric, with each track revealing layers of sound and emotion, much like decoding a complex cryptogram. Mayday 13 invites listeners to explore these layers, uncovering the nuanced themes and intricate compositions embedded within.
Album opener “So Cutthroat” sets the tone with a reverberating guitar dipping in ominously before the song kicks in full. The vocal delivery is immediate, particularly when doubled up in the latter part of the song. The lightly distorted guitars grab your attention and don’t let go. Throughout, swirling synths give a dreamlike quality. It is unpolished but in a positive way, reminding me of the Austin band Voxtrot. By the end, you will be singing along to the refrain.
Track two, “You Were Right,” slows things down slightly. Built over an interesting picked guitar lick, augmented by another lightly distorted guitar line, the key sits perfectly within Hadley’s vocal register, allowing him to deliver what is ultimately quite an optimistic message. It is a driving number that builds to a sweeping chorus that wouldn’t sit out of place in the back catalogue of The National.
Next up, “The Way” is, fortunately (or unfortunately depending on your viewpoint), not a cover of the late 90s alt-hit by Fastball. Instead, it follows in the line of its predecessor. The beat and guitar are introduced ominously through what sounds like a radio transmitter before the vocals kick in, bringing clarity to the whole affair. Hadley cites Pearl Jam as one of his main influences on the Mayday 13 project, and this track, particularly its chorus, achieves the sonic impact of an Eddie Vedder-led sermon. Where “The Way” differs from the Seattle legend’s output is Hadley’s inclination to add little instrumental flourishes and unexpected effects into the mix, making this into a distinct sound.
“This Pulse” channels Monster-era R.E.M., particularly with the scattergun vocal delivery. Despite the heavy distortion, the melodies shine throughout the song, and the song feels bright enough to lead you through. “The Desert” lends itself brilliantly to its title, feeling remote and seemingly boundless. Some electronic elements have been introduced to the mix, creating anticipation, and the rhythmic guitar element that has been ever-present so far is relinquished for some otherworldly synths. This is a soaring number that feels spacey throughout but sits comfortably within the Mayday 13 catalogue.
“From Here On In,” with its four words, is the longest title on the record. It continues with the spacious sound that “The Desert” introduced, offering a steadily building introduction that begins with a distorted synth and an angelic guitar melody before leaving the spotlight to the vocals and an acoustic guitar. This shows shades of Arcade Fire circa ‘Neon Bible‘ or even The Killers on their second album, and I mean that in the most complimentary way possible. It is a song with gravitas where less is more, working to its advantage.
“Radio Song” was previously released as a single, and it’s clear why. It returns some of the tension present in the earlier tracks and boasts a brilliant chorus that wouldn’t sound out of place in an unexpected reveal in your favourite Netflix series. This is a track Interpol would be proud to release.
“Submarine” is another track that saw the light before the release, and it’s Mayday 13 at its edgiest. The drums are a focal point, offering a simple yet catchy beat that provides a foundation for everything that follows. Sparse verses give way to a towering chorus, with the theme of a submarine paralleling someone who is hiding or at least out of sight, being an interesting twist on a familiar subject matter. This has the punch of a Japandroids number.
“Start Again” pulls the handbrake again, relying on an acoustic guitar refrain that accompanies a lamented vocal delivery. It is a welcome reprise after everything that came before, and of course, it wouldn’t be a Mayday 13 song without a memorable chorus. “The Moonlight” possibly represents the most optimistic moment on the album. Possibly due to the major chords and angelic keyboard line, but this is a song designed to bring a smile to your face. Vocally, it delivers at least three incredible melodies, culminating in a wonderful build-up at the song’s end.
The album closer “Rest (Fall Away)” sees Hadley channel his inner Springsteen. It is the most stripped track on the release, relying on a minimal guitar, some distant keys, and an impassioned vocal delivery that grips you. It is a great way to wrap up a release, concentrating everything we’ve heard until now into a memorable melody and a repeated mantra that stays with you.
Mayday 13’s ‘Cryptograms‘ is a sonic puzzle worth solving, with each track offering a new piece to the grand picture. Dive in, decode, and let the layers of sound and emotion reveal themselves.
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