The record is personal. The lyrics crafted from real life experiences accurately, and powerfully capture James Veck-Gilodi’s emotions. The album showcases every element of Deaf Havana’s versatile career.
Showcasing the Deaf Havana many have grown to love; ‘Ashes, Ashes’ contains deep, hard-hitting lyrics juxtaposed with a rock vibe fit for dancing to.
‘Trigger’ is a curve-ball. Sounding like something released from a current indie-rock band; for better or worse. The personal and heartfelt lyrics put the band’s stamp on this song.
As soon as ‘L.O.V.E’ began, one prominent question stuck: Is this finally a song that represents the darker side of the feeling everyone longs for? This song is haunting; but with enough light to still be fun – almost like love itself.
‘Happiness’ is everything but; and that’s exactly what makes it so heartfelt.
Followed by a fairly safe song amidst this album, ‘Fever’ nonetheless offers an element of catchiness.
Forcefully keeping up the tempo of the album, ‘Like A Ghost’ offers something slightly more experimental.
And with extra enthasise on drums and guitar work in ‘Pretty Low,’ a new dynamic is given towards the self-deprecating, and honest lyrics of James Veck-Gilodi.
‘England’ is captivating from the first guitar riff. Building from that point onward, it no doubt showcases the band’s development. And for this, it is the standout track of the album.
A clear influence of acoustic pop punk comes through in ‘Seattle.’ It’s a beautiful, storytelling tune that touches sentimental worries, regret, and contains the overall theme of questioning placement/life. At times, a slight influence of country music comes through in the added twain of electric guitar – making it inevitable to draw influences from Springsteen, an artist admire by the band among many.
‘St. Paul’s’ is lovely; yet bittersweet. This track resonated hard with me, and had me feeling like Deaf Havana had analysed my relationships with everyone I’ve ever cared about to complete this song. Representing the band’s softer side; with a dashing of heavy rock.
Ogden’s drums lead ‘Sing’ into a catchy chorus, that is perfect to be shouted at the band’s upcoming gig. Harmonies hold this song together.
Finally, ‘Pensacola, 2013’ sounds too personal to have been shared with the world.
Overall, the songs featured are in danger of becoming too alike in terms of lyric content; but the work of the band in unison keeps up interest and engagement thoughout.
With music so personal, the ability to resonate with the words is required.
Nonetheless, Deaf Havana are back. And I hope the release of ‘All These Countless Nights’ gets this forever-hardworking band the recognition they rightfully deserve.