A dash of reverb, a little more distortion, a whole lot of heart and a ton of tonality are just waiting to come ripping through the silence in “American Whore,” one of twelve all-new songs that we’re given a front-row seat to examine in The Cerny Brothers’ Looking for the Good Land, which was released this May to enormous accolades from mainstream publications like Rolling Stone as well as stalwarts of the indie community like the one you’re reading now. This song, along with the rollicking “Where I’m Going,” “Million Miles” and star single “Days of Thunder” pack a melodic punch that you’re not likely to hear anywhere else this spring, but muscularity is only one of the sonic attributes that this stellar record brings to the table with it.

MUSIC LINK: https://orcd.co/cernybroslftgl

The exquisite ballad “Ghost” comes in at less than four minutes, but its mammoth piano harmony qualifies it as one of the most attractive numbers on the whole of Looking for the Good Land. A little deeper into the track list, a country/rock-inspired “Laugh at the Devil” utilizes similarly textured musical grit, but the two songs are decidedly different in both tone and execution. “Moon Above the Desert” shows of the surrealism in their sound better than anything else on this LP does, but while it’s cut from a more conceptual cloth than “Tennessee” is, the two tracks don’t make for odd bedfellows in this collection of songs in the least; on the contrary, they complement each other’s stylish prose quite beautifully.

“Night on the Town” brings some more of that gorgeous piano play from “Ghost” into the fold, and in the proceeding “Drinking Gold,” the lion’s share of our focus is directed to the relationship between the vocal track and the strings, which to some extent plays as big of a role in drawing us into the evocative web of the album as the poetry in the chorus of “Denver” does. The Cerny Brothers spared no creative expense in constructing this record to be as wildly addictive and immersing as any other that I’ve had the chance to take a look at this season, and their efforts prove to be well worth it when taking in the elaborate swaying riffs of “I Wanna Love You” at maximum volume (whenever possible).

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Looking for the Good Land is a record defined by its duality, and in an age where hybridity is valued much more than straightforward predictability is, The Cerny Brothers’ latest release serves up exactly what their fans and critics have demanded the most this year. I just got into this band in the last month, but I must say that theirs is a style that doesn’t sound or feel as derivative nor as dependent on classically thematic songwriting as much of the output from their competitors on both the American and Canadian sides of the border has been recently. They’re an original group if I’ve ever heard one, and I would recommend that anyone who lives for a decent dose of superb melodicism make a point in giving their new LP a spin the next time that they’re in the market for music.

Sebastian Cole