Philly indie rock band Mo Lowda & the Humble take us track-by-track by means of their charged, cathartic, and sun-soaked fifth album,’ Tailing the Ghost’ – a vibrant, emotionally grounded report born on the highway and constructed to maneuver, mirror, and resonate.
Stream: “Canary” – Mo Lowda & the Humble
It may well simply be a pleasant listening expertise.
That deceptively easy perception from Mo Lowda & the Humble’s frontman Jordan Caiola captures the spirit of Tailing the Ghost, the band’s fifth and most fluidly compelling album up to now.
Written and recorded fully on the highway – from Tennessee cabins and Lake Travis vistas to the sun-drenched expanse of Joshua Tree – the report finds the Philadelphia-bred band tapping into one thing uncooked, unfiltered, and quietly transcendent. It’s a report made from motion and reminiscence: intimate in its development, cinematic in its really feel.
“This was the primary one the place all of us wrote collectively in a room,” Caiola explains. “These 4 elements needed to work and form of weave in with each other, after which we may construct round that.” That ethos – to guide with really feel and let complexity bloom by means of subtlety – defines the album’s sonic attraction. Whether or not it’s the breezy shimmer of “Canary,” the stormy propulsion of “Northside Violet,” or the glistening jam that closes the report, Tailing the Ghost is filled with songs that keep locked in a groove, soaking you in a temper earlier than gently slipping away.
Launched June 20, 2025, Tailing the Ghost arrives two years after Mo Lowda & the Humble’s acclaimed self-titled album and marks the full-length debut of the band’s present four-piece lineup: Jordan Caiola (lead vocals, guitar), Jeff Lucci (bass, guitar, baritone guitar, keyboards, vocals), Shane Woods (drums, percussion, vocals), and Kirby Sybert (guitar, bass, keyboards, vocals). Born out of Philadelphia’s home present scene over a decade in the past, the band has lengthy been recognized for his or her fierce independence and relentless touring schedule – taking part in over 90 reveals yearly whereas steadily increasing each their sonic palette and nationwide following. They’re additionally longtime favorites of Atwood Journal‘s pages as nicely, with us beforehand praising their music as “smoldering and emotive, light and driving… a refreshing breath of indie rock-laden contemporary air that soothes the senses and warms the soul.” With every launch, they’ve refined their mix of gritty rock and textured, atmospheric indie – however Tailing the Ghost stands aside for its cohesiveness, readability, and live-band vitality.
At its core, Tailing the Ghost is an album about chasing the intangible – the fleeting, unknowable forces that form our lives. “Tailing inherently seems like you might be proper behind it however not fairly there,” Caiola displays. “And the ghost is simply something in our lives – the intangible. Whether or not it’s a loss, or that subsequent chapter in your life, being simply on the heels of one thing you’ll be able to’t fairly grasp.” That search – for that means, for peace, for function – echoes throughout the report’s most introspective moments. “The ghost is the top objective,” he continues. “You would possibly by no means get there. However in your journey of tailing it, there’s loads of stops.” Bassist Jeff Lucci provides: “You possibly can’t even get it anyway. It’s a ghost. By the point you get it, it’s gone. And that’s life proper there.”
Greater than something, Tailing the Ghost feels alive within the second.
Its tracks unfold like snapshots from a fever dream: Surfacing and receding, grounded by tactile instrumentation and lifted by the form of intuitive chemistry solely a decade of friendship and a whole lot of reveals can convey. “There was rather a lot much less time between writing and recording,” drummer Shane Woods notes. “We’d write one thing and be within the studio every week later. And you’ll hear that vitality – we had been tremendous, tremendous excited.”
That sense of immediacy performs out throughout the album’s standout moments. The lead single “Canary” marries baritone guitar and a gradual, hypnotic groove in what the band describes as a quintessential Mo Lowda monitor. “If we’re going to point out folks what we’re doing proper now,” says Caiola, “that is the proper instance.” Elsewhere, “7:31” unspools with nostalgic fervor and a heavy hit of early-2000s guitar worship. “It jogs my memory of my favourite shit from 2007 by means of ’14,” Lucci displays. “It’s transfer. Tom Petty could be pleased with this.”
The tune’s lyrics seize that wistful readability:
We had been ready on the dawn
The final of July
One other season to get someplace
Digging by means of a goldmine
And the whole lot adjustments
If you give it due time
It solely signifies that we′re getting someplace
Residing by means of the entire 9
Nonetheless, I do know time gained’t look forward to me
The band additionally stretch into heavier territory on “Northside Violet,” a darkish, driving standout with a stormy environment. “We’ve got this one tune that’s fairly heavier and sludgier than something we’ve carried out,” Lucci says. “It looks like Interpol meets Desert Rock or one thing.” Whereas the monitor leans into fuzz and punch, it nonetheless carries the band’s signature groove – a reminder that even their loudest moments stay rooted in really feel.
But if there’s one second that greatest captures the band’s inner drive, it’s the bridge of “The Painter.” Initially sung as gibberish in early rehearsals, Caiola finally crammed within the melody with a message that turned one of many album’s emotional anchors: “Whereas your brushes lay dry within the window, a canvas stares again at you white,” he sings over reverb-drenched guitar echoes and driving drum beats. “Yeah, it leans there bare in your bedpost, stark and devoid, it taunts you within the evening. However simply past it in your line of imaginative and prescient hangs the primary one you ever did. Nicely, that web page it was once empty too, ’til ya sat up and began it.”
For him, these traces are a private favourite. “It’s principally only a large nudge to all artists — to place one thing out, and even simply, if you happen to don’t put it out, simply do it,” he says. “I feel we get caught up and typically stunted with self-doubt… that complete bridge is simply meant to empower artists, as corny as that sounds.” Shane Woods provides, “That half was a pleasant shock too, since you didn’t have that written till the top.” Caiola nods, “Should you’re an artist, take heed to that bridge, as a result of that’s one thing I feel all of us really feel.”
For all of the album’s intentionality, a lot of its magic got here from letting go.
“We didn’t have time to fiddle and do shit,” Lucci says. “So let’s go this route, and it’ll be cool to attempt to stretch. And that’s what this report turned. For me, it was a lesson in getting out of your consolation zone. Issues are going to end up in a different way, so it’s important to simply be assured in what you’re taking part in from the supply. I’m not going to fret in regards to the aesthetics to get one thing feeling good. I’m simply going to fret in regards to the precise artwork. So notes turn out to be extra necessary, and the efficiency of them once more — which is form of how music was, I feel, for me after I was youthful. It was nearly notes and what it looks like.”
That intuition carried by means of to the construction of the report as nicely. “Earlier than that tune was even completed, we had been like, this one opens the album,” Caiola says of “Fitzroy.” “Similar factor with ‘Sara’s Obtained Massive Plans’ and ‘7:31’ — similar key, similar tuning. We knew these had been going to be back-to-back. These are the small methods of macro-level shaping an album.” He continues, “We knew ‘Tailing’ was going to be the final monitor. That’s why you’ll be able to go the place it goes. Titling the top monitor the title of the report was purposeful.”
Certainly, it’s the album’s expansive nearer – and namesake – that ties all of it collectively. An homage to Caiola’s father, who handed in 2013 to most cancers, “Tailing the Ghost” is brutally uncooked and musically majestic – an intimate and earnest reckoning with these issues that make us human:
deep within the folds of evening
I discovered myself awoken from a dream
your outdated acquainted face within the shadows
wanting again my method
and I walked in the direction of you
however I couldn’t appear to shut the hole between
you’re all the time additional than an arm’s size
whether or not sleeping or day
typically I consider all the wonder
I’ve seen up to now
Simply how fortunate I ought to really feel
but it surely’s not with out loss
After which, I consider all of the occasions
that we had been singing in your automotive
so I throw on “Candy Factor” ’til it hurts
and I’ve to show it off
“Sonically, I feel that is the best tune we’ve ever made,” Caiola says. “I wrote these lyrics in reference to the various desires I’ve had of my dad since his demise. Typically, he’s simply there… nonetheless present amongst us, as if he’s by no means left. Gardening out within the yard like he had carried out for hours on finish. Oftentimes, there is no such thing as a dramatic operating embrace or tearful reunion, however as a substitute, a simultaneous understanding that he’s in actual fact nonetheless gone, however his spirit stays in our lives. ‘Tailing the Ghost’ references that intangible factor – so shut, however all the time out of attain. All of us have ours. After you take heed to this tune and hopefully drift away into that outro… Hug your dad and mom if you happen to nonetheless have them.”
At six and a half minutes, the ultimate monitor is a breathtakingly stunning stunner: Rooted in private grief, washed in swirling guitars, and anchored by a heavy groove that by no means totally resolves – like chasing a sense that by no means fairly lands.
However I don’t consider ’em
Once they say,
“It softens with time”
And I’ve received my causes
To consider that it’d by no means really feel
May by no means really feel like unhappiness retreating
When it’s too late
And it’s caught behind the enemy traces
See, I don’t consider ’em
Why would I consider ’em?
For the band, Tailing the Ghost is a milestone that proves their development continues to be very a lot in movement.
“It’s insane we’ve gone this lengthy and are nonetheless extra enthusiastic about what we’re doing now than we had been on the final one – and the one earlier than that,” Caiola shares. “I’ve had a number of buddies inform us, ‘You guys make your greatest album each time.’ And I f*ing consider that. I do know each band believes that, however if you happen to take heed to the fabric, we develop with every album. They’ve all taken their very own form. That’s my takeaway – that we are able to nonetheless do this.” He provides, “Whether or not that is your first Mo Lowda album or your fifth, I hope you discover one thing in it.”
For a band practically twelve years and 5 albums deep, Tailing the Ghost doesn’t simply really feel like a end result – it looks like a brand new starting. Or, as they put it with amusing: “Tremendous good time… It’s the start… Our greatest work.” Expertise the complete report by way of our under stream, and peek inside Mo Lowda & the Humble’s Tailing the Ghost with Atwood Journal because the band take us track-by-track by means of the music and lyrics of their newest album!
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Stream: ‘Tailing the Ghost’ – Mo Lowda & the Humble
:: Inside Tailing the Ghost ::
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Fitzroy
Jeff Lucci: I bear in mind Jordan taking part in the intro riff to this whereas we had been at a cabin in Tennessee, and Kirby and I instantly joined in with out discussing something. We naturally constructed a crescendo within the room and we had been all taking a look at every in awe of the way it felt and the way the sound was morphing as a unit as we intuitively constructed our dynamics collectively. The tune began to jot down itself fairly shortly, and we knew we needed it to have a repetitive and rolling feeling, whereas frequently morphing in the way in which it was phrased. I like when music masquerades as straight ahead, and this one is subtly difficult.
Jordan Caiola: I visited Australia in early 2024 and fell in love with Melbourne. There’s a neighborhood there referred to as Fitzroy and I made a word in my cellphone to jot down a tune with that title. So far as the writing course of; this one actually got here out of skinny air. Typically it occurs that method and people usually find yourself being my favourite songs… This one isn’t any exception. We had “referred to as it” for the evening, however I picked up my tele and tuned it to open D just because we hadn’t ever written a tune in that tuning. (That was the motto for the entire process- making an attempt to go a unique route – all the time. ) Inside minutes it felt like we had been crafting the opening tune to the album. I’ll all the time bear in mind the seems to be we shared as this one got here collectively – sheer pleasure and synergy. Near a decade of writing collectively and nonetheless getting STOKED.
Shane Woods: One among our heaviest but easy tracks. The guitars and bass are so low, whereas the drums present a gradual stomp all through. You possibly can actually hear the band in a room vibe right here. It took us some time to nail the construction as there are a lot of abrupt stops and odd quantities of occasions that issues occur. However in the end it presents itself as a gradual cruiser.
Canary
Jeff Lucci: When Jordan confirmed us the demo for this one, all of us knew instantly we had a tune that will really feel superb as a primary single. The lead guitar traces that drops is a direct hook and the beat Shane threw down blurs the road between dance and rock, and that’s the perfect combo. Secrets and techniques of the commerce: no bass or synth bass was utilized in making this. Baritone guitar for the win, as soon as once more!
Jordan Caiola: The skeleton of this tune was written with the intention that it could be the lead single. I dug up an outdated voice memo recording that ended up being the leaping off level for the baritone guitar that form of serves because the bass all through. That, coupled with a Shane drum groove plucked from one other jam/tune concept created the tune’s basis. These two components left a ton of house within the midrange and better frequencies to work with and I actually needed to make the groove work with solely 2 extra guitar elements, all taking part in off one another. As soon as the guitar “hook” was written – I knew the mission for writing a catchy lead single was on its method. I wish to make folks transfer and dance with this one. Lyrically, the tune’s about discovering the one that makes you not so afraid of the long run – possibly wanting into your soul from throughout the pool desk at Johnny Brenda’s… only a random, non-specific instance I simply considered.
Shane Woods: Canary locked in immediately. Jordan got here with a terrific tune and riff and by the point all of us made our personal contributions and completed up the bridge it felt like we had been cruising each time. The drum beat felt like a wheel, simply always rolling, over and over. And we rehearsed that tune over and over. And you’ll actually hear that tightness within the recording. Recording the tune in Joshua Tree was very stimulating. That rolling down the highway really feel of the groove completely aligned with the sunny, expansive desert I noticed searching of the big open home windows of the house we recorded in.
The Painter
Jeff Lucci: Jordan confirmed me a voice word of a lead line I used to be taking part in throughout downtime of a rehearsal. It had this type of 70s Pat Metheny guitar synth tone to it, and he thought it had potential. We pursued a shuffle concept with the riff because the hook, and over a day, the band made the tune by jamming in the lounge of a cabin, overlooking Massive Lake in CA. I like the guitar method that Kirby and I landed on for this one, whereas Jordan held down a constant bass rhythm and Shane flexed on some Picaro shit.
Jordan Caiola: This can be the sleeper decide for my new favourite Mo Lowda tune. We knew we needed a shuffle tune on this album – they’re simply enjoyable as hell to play… and I knew Jeff could be taking part in lead guitar on this one because the tune concept spawned from one in every of his riffs, so within the writing course of I dedicated to taking part in bass on it (I like taking part in bass) which allowed Kirb to essentially open up on some extra difficult guitar elements. For the longest time, we’d play by means of this complete tune and I might sing absolute gibberish. The melodies and rhythms caught for probably the most half and I ultimately crammed within the blanks with lyrics I used to be fairly pleased with. This tune is a name to the artists – possibly those who’ve bother understanding when one thing’s completed – possibly those who’ve but to start out. Both method – it urges you to DO IT. WRITE IT. PAINT IT. RELEASE IT. That is our present to share – so share it. And f* anybody who doubts you. Actually.
Shane Woods: There’s all the time one tune specifically on every of our data that encourages me to get exterior of my consolation zone, and in the end develop as a participant. On the final album it was Beachtown, and I lastly received over my concern of the dreaded upbeat shuffle. And now I’ve it in my arsenal. The Painter can be a shuffle. Whereas the beat is far easier and simple, the velocity of the hello hat sample was a problem for me as I needed to ensure I did it with one hand, relatively than two. Ultimately I received it down. I get pleasure from that the beat is cruising for that one, it permits the guitars and vocals to essentially bloom.
7.31
Jeff Lucci: This was the primary monitor we recorded, and we did it in Austin with an especially gifted engineer, Nicky Knobs, whom I had labored with on one other challenge. This monitor brings me again to the early 2000s Seattle music scene, because it form of jogs my memory of one thing you might hear off of Menos el Oso. I’ve a deep love of this model of music and I used to be very stoked to listen to us shifting in the direction of a really guitar ahead sound, particularly as a result of it appears guitar isn’t in model lately. However, guitar is cool girls and boys; don’t overlook it. The lyrics really feel like they match the vitality of the tune completely, and I actually just like the emphasis on the drop tuned guitar that simply always pushes the tune ahead in a repetitive trance like movement. Concord central within the refrain!
Jordan Caiola: This one was closely impressed by a guitar tuning once more (Drop C) – *coupled* with a foam mute tucked beneath the guitar strings on the bridge to offer it the plucky, muted sound. I toyed with this method a LOT on my final solo album and needed to use it to a Mo Lowda tune. This supplied numerous house for the vocals and lead guitar traces. Shane’s drum half within the verse is one in every of my favourite issues he’s ever laid down in 15 years of recording music with him. It’s so sensible & melodic… taking part in off the vocals completely like one thing off Wolfgang Amadeus Phoenix (a shared favourite amongst the 4 of us). Lyrically, this tune reminds you to have fun the small wins and benefit from the trip.
Shane Woods: I benefit from the duality this tune possesses. It begins with a mellow acoustic guitar and the refrain may be very sturdy and exquisite. By the top of it, it erupts into full post-punk/ kraut rock insanity, all whereas nonetheless retaining a groove and really feel.
Sara’s Obtained Massive Plans
Jeff Lucci: I actually dig how mixtapes often simply have brief easy beats which are simply what they’re; they don’t have to develop into lengthy winded compositions. Jordan and I chatted about stream of acutely aware songs the place they’ll sit on one really feel and may keep there the entire time, and he wrote a number of with that in thoughts, which falls into that mixtape form of really feel for me. This monitor got here down the demo pipeline and we recorded it just about the identical. I believed the bass for this one could be higher to be felt, not heard. That means, with the drums, it blends as one instrument. I like when on the final refrain you lastly get a launch with a brand new chord, which actually provides emphasis to the lyrics.
Jordan Caiola: “Sara” is maybe the best Mo Lowda tune up to now – and I like it for that actual purpose. Jeff talked about a dialog we had a couple of stream of consciousness method to a tune and I went house and wrote this one, Canary & Postman inside 3 days. It was recorded in the identical tuning/muted guitar model that 7.31 was, which gave us the concept to pair them collectively as a form of package deal. I had been listening to a ton of Royel Otis on the time and cherished how usually they used stacked, unison vocals, utilizing a number of singers to create a novel mix. We leaned in on that, with Shane & Kirb singing each line with me within the recording. Lyrically, this tune is supposed to be gentle – virtually humorous – sending nicely needs to an outdated flame and hoping, like with all failed relationships, there was one thing to be realized for the subsequent one. The final word home windows down cruiser. I hope the listener breaks this one out on a pleasant 75 and sunny sort day.
Shane Woods: One other monitor that may all the time remind me of the great thing about the desert. The Joshua Tree solar warming us up by means of the home windows whereas we ran takes of the tune. Its repetitive nature had me in a meditative state, relatively than feeling the necessity to soar the gun or do something greater than I needed to.
Take the Bait
Jeff Lucci: That is one other monitor written shortly on the cabin in Tennessee. The very first thing we made after organising was this tune, and it was written totally within the room, jamming it out the old-fashioned method. The repetitive rhythm of Jordan’s guitar determine feels very enjoyable, and the chord colours have a melancholy to them with out carrying an excessive amount of darkness. I additionally benefit from the vagueness to the keys half, the place they form of simply occupy frequencies, relatively than particularly regarding themselves with chords, particularly in the course of the outro of the tune. Additionally, I received to squeeze some extra 2000s affect with the clear guitar tapping half!
Jordan Caiola: Take the Bait was written on day 1. Going into the writing course of for this album, I stored stressing the concept of fellows choosing up an instrument they don’t usually play – even subtly completely different. E.g. Me choosing up the baritone, Kirb choosing up a Les Paul as a substitute of a tele or Silvertone, Shane grabbing brushes, Jeff taking part in Kirb’s keys… Even simply listening to the tone of an instrument that isn’t your go-to can instantly make you play in a different way and make for some distinctive and new tune concepts. Take the Bait was the primary product of this methodology, as I started taking part in that repetitive guitar line on Jeff’s baritone. The remainder of it took form very organically proper there within the room and the tune was completed the subsequent day. Lyrically, this one may join with you instantly or maybe ruffle some feathers. I’m not denying that having youngsters might be an unimaginable, fulfilling, joyous & life-affirming expertise… I’ve witnessed that by means of folks I like. I’m merely not there but and at 33 years outdated, that makes your self (and others) ask some questions. Am I egocentric for selecting myself and my profession right now? Am I nonetheless open to parenthood being an choice for me down the highway? What’s legacy? Can I discover function in different methods? I’ll allow you to reply these for your self… however, this was what I used to be feeling on the time. I’d say total… “By no means say by no means” is the takeaway right here after the bridge hits. Possibly at some point I’ll be writing songs about how elated I’m to be a dad.
Shane Woods: Creating this tune collectively was very particular. I bear in mind Jordan taking part in this riff time and again, and me becoming a member of in, taking part in the trip with brushes. I used sticks within the recording however stored the texture gentle and ethereal. Kirby’s bass blends in and pushes the tune ahead effortlessly, with Jeff’s keys and synth offering the proper quantity of sprinkles to make the suitable moments pop, particularly within the instrumental bridge.
To Maintain Sane within the Darkish
Jeff Lucci: Obtained to surrender some main props to Shane woods and Nicky Knobs for the drums on this one, they sounded fats and had a tremendous texture proper from the soar! This tune calls again to some extra of the bands’ hip hop and pop sensibilities, with the actually tight locking of the kick and bass guitar. I like that sort of music when it’s juxtaposed in opposition to an ambient and arpeggiated guitar method. However then, the second verse hits you with some techy, dry, palm muted guitar work out of nowhere. Be careful for that refrain melody.
Jordan Caiola: I took a solo journey to Joshua Tree in late 2023 to jot down and escape winter within the metropolis and this was one of many first demos I cooked up for the brand new album. On the time, I used to be listening to numerous Khruangbin, Palace & Alvvays – which closely influenced the clear and weaving guitar elements. The cleaner tones ended up being form of a theme for this album. I like how this recording turned out with the THICK drums and bouncy bass. Shane’s double-time hi-hat alternative within the refrain actually pushed this one – these harmonies circulate overtop properly and I feel the imaginative and prescient for this one was actually executed nicely.
Shane Woods: This tune was all the time very enjoyable to play the drums on. I all the time discovered the guitars to weave collectively fantastically. It wasn’t till we put the ultimate vocal harmonies within the refrain, that I discovered the tune’s true magnificence. It’s so fairly that I feel the tremendous distorted guitar traces in between the harmonies present a terrific distinction.
25 Years
Jeff Lucci: That is fairly an outdated concept we had, going all the way in which again to Prepared Coat not less than. After we pulled it from the archive, all of us realized instantly that we didn’t should do a lot to get it to the place it’s in the present day. The bass line is fairly in your face for this one, so I needed to discover a method to take up numerous house with it. For me, that often means utilizing 3 amps. A stereo guitar amp setup, and a bass amp within the heart. The biting, excessive register stabbing guitars punctuated that huge sound. I like that the bridge goes into the top of the tune and it doesn’t get too giant and in your face. Don’t sleep on the lyrics to this one!
Jordan Caiola: 25 Years is a enjoyable one. This was actually the one new tune we had within the stay set earlier than the discharge of this album and it’s a BLAST to play. Pure vitality. The thought for this one was first kicked round again in 2020 however by no means received totally fleshed out. I like how angular it’s – a way more intense pay attention than a few of the chiller songs. Lyrically, it’s the story of somebody who received in too deep with the mob & paid the value. Fictional? Actual? Combo?
Shane Woods: This tune all the time felt nice to play collectively. The bass line may be very post-punk to me as are the angular guitars. We might play it at sound checks and began taking part in it at random reveals after we recorded the monitor.
Postman
Jeff Lucci: It’s all the time superior to get pulled instantly right into a tune and that’s what this monitor does for me. I like the falsetto, gang vocal method of the refrain. That is one other monitor that has a cool hip hop affect and bounce to it. Like Canary, give me a shiny imaginative and prescient, like summer season is right here. We recorded it stay, and the manufacturing utterly formed itself from the soar. Octave fuzz for the win on the guitar tone right here, and faucet dancing like Dave Knudson is on the horizon for recreating the bridge tones little doubt!
Jordan Caiola: I’ve all the time cherished when a continuing tambourine is totally intertwined with a drum groove – And that was the leaping off level right here. A fats beat with some easy guitars over high, drawing consideration to the vocal and dealing as a unit to create the momentum of the groove. I had this one fairly fleshed out within the authentic demo – then it was simply in regards to the guys including their very own flare (which they all the time do extremely nicely) and taking the elements to the subsequent degree. It felt actually good off the bat with us all taking part in it collectively within the room… some stank-faces had been definitely shared when that first fuzz riff hit. The refrain is one thing new for us I feel, with it closely counting on stacked falsetto vocals. Our good buddy Richie Digiorgio sang backups on this one. We’ve had him sing on each album since Creatures. He’s one in every of our favourite dudes ever and has the voice of an angel. Lyrically, I made a really acutely aware effort to not have as a lot doom & gloom on this album. This tune is supposed to be uplifting. Should you’re coping with one thing – converse out, speak in confidence to somebody you’re keen on… You don’t should struggle each battle by yourself.
Shane Woods: One of many extra enjoyable sounding Mo Lowda songs. I simply had a good friend remind me of a terrific reminiscence from my childhood. My drumset was in my bed room and you might hear me bashing away all the way in which down the block. Our neighborhood mailman was all the time a fan of our Husky and heard me taking part in whereas saying good day at some point. He was a guitar participant and my dad and mom let him jam with me. We performed Wipe Out and it was superior. He would cease by occasionally after that.I now take into consideration this after I hear this tune although I’m pretty sure it’s not what Jordan’s lyrics are about.
Northside Violet
Jeff Lucci: Kirby and Jordan made a demo of this tune and introduced it to the group within the Tennessee cabin. We switched up the tempo and I made a decision to make the low finish a bit extra legato for almost all of the tune. We realized how heavy it was sounding whereas we had been demo’ing it out, so we simply leaned into it. I used a Les Paul to do the bass half, but it surely form of crosses over to the guitar world as a result of I used a number of amps whereas monitoring it to have completely different riffs stick out and punctuate Jordan’s rhythm half. I bear in mind getting actually bizarre with altering delay occasions whereas Kirby was monitoring some lead overdubs, which creates cool artifacts within the stereo subject. That is in all probability the heaviest monitor we’ve got ever made, and I like that!
Jordan Caiola: Octave guitar. We f*ing love octave down guitar. You possibly can hear it beforehand on ‘Coast is Ready,’ ‘Lastly/Guess the Home,’ ‘Shenandoah’, ‘Earlier than Midday’ and extra. It all the time has a lot coloration, and oddly typically extra low finish than a bass guitar. This one was actually enjoyable to flesh out collectively within the room after Kirb and I introduced the demo to the desk, sampling an outdated rehearsal voice memo recording. This one is completely different for us – and I dig that. I like how the drums enter the tune. Shane dropped the reverse snare transfer there and it was a small, however electrical second within the mixing course of. Maintain onto your hats for this one stay.
Shane Woods: One other in your face rocker and groover for us. Looks like a pleasant place within the report to say “ooooh you forgot about this vibe we gave yah in the direction of the highest.” The entire band works as a unit right here. There’s a pair large drum fill moments on this one which I’m glad the blokes had been cool with and pushed for.
Tailing the Ghost
Jeff Lucci: I don’t assume there might be a tune that’s higher suited to its title than this one. Serendipitously, it was the final tune to be written, and it’s the final monitor on the album. It was primarily based off of a minimize up drum loop I took of Shane taking part in at my studio. I put a bass line on it and forgot about it, till we had been searching for seed concepts for this report. We determined to pursue the concept, and the start of it got here collectively at Massive Lake, and the second half was completed within the studio in Austin, Texas. I modified up my authentic bass line and the brand new one is one in every of my favorites off the album. House was the secret for this one, even when it will get dense, it nonetheless feels prefer it floats. The ending is my favourite a part of the report.
Jordan Caiola: Sonically, I feel that is the best tune we’ve ever made. I’ll let the boys go in depth on that stuff and speak about its that means for me. I misplaced my dad to most cancers in 2013 after I was 22. 11 years later… and on the suitable (or improper, I suppose) evening, I can nonetheless be diminished to a sobbing, blubbering mess in my own residence as actuality units in for the millionth time since he’s handed. The paralyzing feeling of his everlasting bodily absence. On the similar time, I can snort and smile upon candy reminiscences 99.9% of the time with no downside. THAT is grief. It is available in super waves. Bouts of anger & frustration… why him? Why us?… then durations of sheer gratitude for having had him for so long as we did… plus each little nuanced expertise in between. I wrote these lyrics in reference to the various desires I’ve had of him since his demise. Typically, he’s simply *there*… nonetheless present amongst us as if he’s by no means left. Gardening out within the yard like he had carried out for hours on finish. Oftentimes, there is no such thing as a dramatic operating embrace or tearful reunion, however as a substitute, a simultaneous understanding that he’s in actual fact nonetheless gone, however his spirit stays in our lives. ‘Tailing the Ghost’ references that intangible factor – so shut, however all the time out of attain. All of us have ours. After you take heed to this tune and hopefully drift away into that outro… Hug your dad and mom if you happen to nonetheless have them and go take heed to Van Morrison’s ‘Candy Factor’. For me… and for my dad.
Shane Woods: This tune lives many lives till its finish, and is the proper album ender/title monitor. The drums have a bunch of angle within the verse, then swap to a light-weight swing and circulate within the refrain. This tune took fairly a while to craft, and we tried to mash up a pair completely different tracks, riffs, and feels onto the top earlier than touchdown on the linear but ever constructing journey that’s the finish to this album.
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© Luda Ronky
Tailing the Ghost
an album by Mo Lowda & The Humble