As the summer sun crests the horizon, casting long shadows over a season of musical releases, WHY?‘s The Well I Fell Into emerges as a poignant reminder of Yoni Wolf’s enduring artistic prowess. This eighth studio album from the Cincinnati outfit is a crafted introspection into heartbreak, transformation, and the quest for peace. It marks a significant milestone for WHY? as their first release on the new label, Waterlines, after previous collaborations with Anticon and Joyful Noise.
WHY? has long been a genre-bending entity. Yoni Wolf has navigated a fascinating path from his early days of edgy, live-instrumental hip-hop to his current blend of indie pop, folk, and chamber pop infused with rap elements. As I recently wrote, his work has consistently turned the seemingly mundane experiences into captivating stories. This holds true with the entire track listing for The Well I Fell Into. The album aligns closely with what I anticipated from Yoni Wolf and company at this stage—a perfect blend of introspective lyrics and lush, intricate arrangements, merging folk sensibilities with rap’s reflective narrative style, while maintaining the enigmatic charm that defines Wolf’s work.
Opening with the hauntingly cinematic “Lauderdale Detour,” the album sets a tone of melancholy and contemplation. The track, with its atmospheric strings and ghostly voicemail samples, serves as an eerie overture to a collection of songs steeped in emotional depth. This otherworldly sonic landscape feels both expansive and intimately personal, a theme that echoes throughout the record.
In “Marigold,” Wolf’s lyrics delve into the rawness of personal loss, reflecting on his vulnerabilities with lines like, “I used to be married / Now I drag around the ring / On a sling.” The mournful piano and sweeping strings create a sonic backdrop that underscores the emotional gravity of his words, while the production choices remain restrained, allowing the song’s sentiment to shine. “Marigold” stands as a testament to WHY? at their sombre best, with a female vocal adding a gorgeous melodic dynamic over what sounds like a lament, and the strings cutting the tension like razors.
The reflective journey continues with “Brand New” and “G-dzillah G’dolah,” where Wolf experiments with layered, eclectic arrangements including plucked guitar and staccato piano. “Brand New” is a welcome throwback to the folk-oriented sound the band has sharpened over recent albums. It is an optimistic moment following the bleaker beginning of the album, with what is ultimately a message of self-empowerment. The chorus soars, particularly on the final run around when it grows to bombastic proportions. “G-dzillah G’dolah” offers quasi-Beach Boys melodies with a dreamy vocal hook delivered peacefully over a wonderful double bass and a tapped piano refrain, before expanding into a beautiful orchestral interlude.
“Jump,” the recently released single, sees Yoni Wolf hit rock bottom again. He is at his observational best, name-dropping obscure events in European cities like he has done in previous releases. It is a bleak piece but refreshing in its honesty. The album then provides some respite with “Later At The Loon,” where the lyrics sound as biting as ever, but the major key shift lends it a more optimistic feel. A distant saxophone and the prominent double bass give this the feel of a conversation between two lovers in the outdoors smokers’ area of a jazz bar. Once more, angelic female vocal accents elevate it further.
The album’s recording took place at Brian Joseph’s Hive Studio in Eau Claire, Wisconsin, resulting in compelling and accessible arrangements that enhance the strong hooks grounding the songs. Wolf enlisted a cast of collaborators, including Gia Margaret, Macie Stewart of Finom, Lala Lala’s Lillie West, Serengeti, and Ada Lea, each adding diverse textures to the music. This collaborative approach is particularly evident in “Nis(s)an Dreams, Pt. 1,” where a Beatles-esque chord progression, a J Dilla-esque drum pattern, and layered instrumentation creates a lush, almost dreamlike quality.
“The Letters, Etc.”, another previously released single, is the epitome of what a WHY? song should be—glorious instrumentation and words that make you think. “Sin Imperial” feels incredibly intimate, with minimal instrumentation in the verses giving way to a hyperpop-leaning chorus that allows Wolf to deliver some of his best self-deprecating lines. He “may not be Ted Danson” but he definitely has leading man energy.
The closing track, “Sending Out a Pamphlet,” brings the album full circle with a beautifully restrained jazz-adjacent arrangement. Wolf’s subdued vocals and the song’s intricate instrumentation stand as a testament to his refined craft, leaving listeners with a sense of hopeful introspection.
The reflective nature of the album mirrors Yoni Wolf‘s recent musings on social media, prompted by a retrospective about his career in Flood magazine. Wolf pondered, “Maybe there will be someone out there digging through the digital rubble to find these few gems scattered in there.” Whether or not Wolf ever comes across this piece, he should know that his music has made a significant impression on my friends and me, and is directly associated with some of the most meaningful moments of our lives.
The Well I Fell Into fits in as a worthy addition to WHY?’s discography, marking a new chapter for them as independent artists. It is a release that asks listeners to navigate through its complex layers, revealing itself gradually with each listen. While it may not capture the tense energy of earlier WHY? albums, its contemplative qualities and lyrical honesty provide a compelling listen. Simply put, The Well I Fell Into is an album well worth falling into.
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