Philly indie rock band Mo Lowda & the Humble take us track-by-track via their charged, cathartic, and sun-soaked fifth album,’ Tailing the Ghost’ – a vibrant, emotionally grounded report born on the highway and constructed to maneuver, replicate, and resonate.
Stream: “Canary” – Mo Lowda & the Humble
It could possibly 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 solely 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 product of motion and reminiscence: intimate in its building, cinematic in its really feel.
“This was the primary one the place all of us wrote collectively in a room,” Caiola explains. “These 4 components 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 via subtlety – defines the album’s sonic allure. 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 – enjoying over 90 exhibits 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 recent 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 possibly can’t fairly grasp.” That search – for that means, for peace, for objective – echoes throughout the report’s most introspective moments. “The ghost is the tip 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’ll be able to’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 bunch of exhibits 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 per 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 gentle, hypnotic groove in what the band describes as a quintessential Mo Lowda monitor. “If we’re going to point out individuals 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 via ’14,” Lucci displays. “It’s a superb transfer. Tom Petty can be pleased with this.”
The track’s lyrics seize that wistful readability:
We had been ready on the dawn
The final of July
One other season to get someplace
Digging via a goldmine
And every part adjustments
If you give it due time
It solely implies that we′re getting someplace
Dwelling via the entire 9
Nonetheless, I do know time gained’t await me
The band additionally stretch into heavier territory on “Northside Violet,” a darkish, driving standout with a stormy ambiance. “We’ve this one track that’s fairly heavier and sludgier than something we’ve carried out,” Lucci says. “It seems 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 night time. However simply past it in your line of imaginative and prescient hangs the primary one you ever did. Properly, that web page it was empty too, ’til ya sat up and began it.”
For him, these traces are a private favourite. “It’s principally only a huge 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 believe we get caught up and generally stunted with self-doubt… that entire 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 tip.” Caiola nods, “If you happen to’re an artist, hearken to that bridge, as a result of that’s one thing I believe 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 otherwise, so you must simply be assured in what you’re enjoying 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 grow to be extra essential, and the efficiency of them once more — which is form of how music was, I believe, for me once I was youthful. It was nearly notes and what it seems like.”
That intuition carried via to the construction of the report as nicely. “Earlier than that track was even completed, we had been like, this one opens the album,” Caiola says of “Fitzroy.” “Similar factor with ‘Sara’s Received Huge Plans’ and ‘7:31’ — identical key, identical 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 possibly can go the place it goes. Titling the tip monitor the identify 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 night time
I discovered myself awoken from a dream
your previous acquainted face within the shadows
trying again my means
and I walked in the direction of you
however I couldn’t appear to shut the hole between
you’re at all times additional than an arm’s size
whether or not sleeping or day
generally I consider all the wonder
I’ve seen to this point
Simply how fortunate I ought to really feel
however it’s not with out loss
After which, I consider all of the instances
that we had been singing in your automobile
so I throw on “Candy Factor” ’til it hurts
and I’ve to show it off
“Sonically, I believe that is the best track we’ve ever made,” Caiola says. “I wrote these lyrics in reference to the various goals I’ve had of my dad since his dying. 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 isn’t any dramatic operating embrace or tearful reunion, however as a substitute, a simultaneous understanding that he’s in reality nonetheless gone, however his spirit stays in our lives. ‘Tailing the Ghost’ references that intangible factor – so shut, however at all times out of attain. All of us have ours. After you hearken to this track 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 lovely stunner: Rooted in private grief, washed in swirling guitars, and anchored by a heavy groove that by no means absolutely 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
Would possibly by no means really feel like disappointment 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 hearken 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 almost twelve years and 5 albums deep, Tailing the Ghost doesn’t simply really feel like a end result – it seems 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 through 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 via 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 keep in mind Jordan enjoying 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 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 track began to write 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 really like when music masquerades as straight ahead, and this one is subtly sophisticated.
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 write down a track with that title. So far as the writing course of; this one really got here out of skinny air. Typically it occurs that means and people typically find yourself being my favourite songs… This one isn’t any exception. We had “referred to as it” for the night time, however I picked up my tele and tuned it to open D just because we hadn’t ever written a track in that tuning. (That was the motto for the entire process- making an attempt to go a distinct path – at all times. ) Inside minutes it felt like we had been crafting the opening track to the album. I’ll at all times keep in mind the appears we shared as this one got here collectively – sheer pleasure and synergy. Near a decade of writing collectively and nonetheless getting STOKED.
Shane Woods: Certainly one of our heaviest but easy tracks. The guitars and bass are so low, whereas the drums present a gentle stomp all through. You’ll be able to actually hear the band in a room vibe right here. It took us some time to nail the construction as there are numerous abrupt stops and odd quantities of instances that issues occur. However finally it presents itself as a gentle cruiser.
Canary
Jeff Lucci: When Jordan confirmed us the demo for this one, all of us knew instantly we had a track that may really feel wonderful 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 very best 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 track was written with the intention that it could be the lead single. I dug up an previous 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/track thought created the track’s basis. These two parts left a ton of area within the midrange and better frequencies to work with and I actually needed to make the groove work with solely 2 extra guitar components, all enjoying off one another. As soon as the guitar “hook” was written – I knew the mission for writing a catchy lead single was on its means. I need to make individuals transfer and dance with this one. Lyrically, the track’s about discovering the one that makes you not so afraid of the long run – perhaps trying 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 an amazing track 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, again and again. And we rehearsed that track again and again. And you’ll actually hear that tightness within the recording. Recording the track 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 looking of the massive 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 enjoying 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 thought with the riff because the hook, and over a day, the band made the track by jamming in the lounge of a cabin, overlooking Huge Lake in CA. I really like the guitar strategy 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 choose for my new favourite Mo Lowda track. We knew we needed a shuffle track on this album – they’re simply enjoyable as hell to play… and I knew Jeff can be enjoying lead guitar on this one because the track thought spawned from one among his riffs, so within the writing course of I dedicated to enjoying bass on it (I really like enjoying bass) which allowed Kirb to actually open up on some extra sophisticated guitar components. For the longest time, we’d play via this entire track and I’d 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 track is a name to the artists – perhaps those who’ve bother realizing when one thing’s completed – perhaps those who’ve but to begin. Both means – 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. Really.
Shane Woods: There’s at all times one track particularly on every of our data that encourages me to get exterior of my consolation zone, and finally 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 way easier and easy, the velocity of the hello hat sample was a problem for me as I needed to ensure I did it with one hand, quite than two. Ultimately I received it down. I take pleasure in that the beat is cruising for that one, it permits the guitars and vocals to actually bloom.
7.31
Jeff Lucci: This was the primary monitor we recorded, and we did it in Austin with an especially proficient 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 could possibly 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 today. However, guitar is cool girls and boys; don’t overlook it. The lyrics really feel like they match the vitality of the track completely, and I actually just like the emphasis on the drop tuned guitar that simply always pushes the track 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 strategy a LOT on my final solo album and needed to use it to a Mo Lowda track. This offered a variety of area for the vocals and lead guitar traces. Shane’s drum half within the verse is one among my favourite issues he’s ever laid down in 15 years of recording music with him. It’s so good & melodic… enjoying off the vocals completely like one thing off Wolfgang Amadeus Phoenix (a shared favourite amongst the 4 of us). Lyrically, this track reminds you to rejoice the small wins and benefit from the trip.
Shane Woods: I benefit from the duality this track possesses. It begins with a mellow acoustic guitar and the refrain may be very robust and exquisite. By the tip of it, it erupts into full post-punk/ kraut rock insanity, all whereas nonetheless maintaining a groove and really feel.
Sara’s Received Huge Plans
Jeff Lucci: I actually dig how mixtapes normally simply have brief easy beats which can be simply what they’re; they don’t must develop into lengthy winded compositions. Jordan and I chatted about stream of aware songs the place they will sit on one really feel and might 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 can be higher to be felt, not heard. Which means, with the drums, it blends as one instrument. I really 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 track up to now – and I like it for that actual cause. Jeff talked about a dialog we had a couple of stream of consciousness strategy to a track and I went dwelling 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 thought to pair them collectively as a form of package deal. I had been listening to a ton of Royel Otis on the time and beloved how typically 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 track is supposed to be gentle – nearly humorous – sending nicely needs to an previous flame and hoping, like with all failed relationships, there was one thing to be discovered for the subsequent one. The last word home windows down cruiser. I hope the listener breaks this one out on a pleasant 75 and sunny kind day.
Shane Woods: One other monitor that may at all times remind me of the great thing about the desert. The Joshua Tree solar warming us up via the home windows whereas we ran takes of the track. Its repetitive nature had me in a meditative state, quite than feeling the necessity to bounce 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 establishing was this track, and it was written absolutely within the room, jamming it out the old-fashioned means. 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, quite than particularly regarding themselves with chords, particularly throughout the outro of the track. 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 saved stressing the thought of fellows choosing up an instrument they don’t sometimes play – even subtly totally 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 enjoying Kirb’s keys… Even simply listening to the tone of an instrument that isn’t your go-to can instantly make you play otherwise and make for some distinctive and new track concepts. Take the Bait was the primary product of this methodology, as I started enjoying that repetitive guitar line on Jeff’s baritone. The remainder of it took form very organically proper there within the room and the track was completed the subsequent day. Lyrically, this one may join with you immediately or maybe ruffle some feathers. I’m not denying that having youngsters could possibly be an unbelievable, fulfilling, joyous & life-affirming expertise… I’ve witnessed that via individuals I really like. I’m merely not there but and at 33 years previous, that makes your self (and others) ask some questions. Am I egocentric for selecting myself and my profession presently? Am I nonetheless open to parenthood being an possibility for me down the highway? What’s legacy? Can I discover objective 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 track collectively was very particular. I keep in mind Jordan enjoying this riff time and again, and me becoming a member of in, enjoying the trip with brushes. I used sticks within the recording however saved the texture gentle and ethereal. Kirby’s bass blends in and pushes the track ahead effortlessly, with Jeff’s keys and synth offering the proper quantity of sprinkles to make the appropriate moments pop, particularly within the instrumental bridge.
To Maintain Sane within the Darkish
Jeff Lucci: Received 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 bounce! This track 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 really like that kind of music when it’s juxtaposed towards an ambient and arpeggiated guitar strategy. 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 write 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 a variety of Khruangbin, Palace & Alvvays – which closely influenced the clear and weaving guitar components. The cleaner tones ended up being form of a theme for this album. I really like how this recording turned out with the THICK drums and bouncy bass. Shane’s double-time hi-hat selection within the refrain actually pushed this one – these harmonies move overtop properly and I believe the imaginative and prescient for this one was actually executed nicely.
Shane Woods: This track was at all times very enjoyable to play the drums on. I at all times discovered the guitars to weave collectively fantastically. It wasn’t till we put the ultimate vocal harmonies within the refrain, that I discovered the track’s true magnificence. It’s so fairly that I believe the tremendous distorted guitar traces in between the harmonies present an amazing distinction.
25 Years
Jeff Lucci: That is fairly an previous thought we had, going all the way in which again to Prepared Coat at the least. Once we pulled it from the archive, all of us realized instantly that we didn’t must do a lot to get it to the place it’s right now. The bass line is fairly in your face for this one, so I needed to discover a solution to take up a variety of area with it. For me, that normally means utilizing 3 amps. A stereo guitar amp setup, and a bass amp within the middle. The biting, excessive register stabbing guitars punctuated that broad sound. I like that the bridge goes into the tip of the track and it doesn’t get too massive 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 track we had within the dwell 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 absolutely fleshed out. I really like how angular it’s – a way more intense pay attention than a number of the chiller songs. Lyrically, it’s the story of somebody who received in too deep with the mob & paid the worth. Fictional? Actual? Combo?
Shane Woods: This track at all times 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 enjoying it at random exhibits after we recorded the monitor.
Postman
Jeff Lucci: It’s at all times superior to get pulled instantly right into a track and that’s what this monitor does for me. I really like the falsetto, gang vocal strategy of the refrain. That is one other monitor that has a cool hip hop affect and bounce to it. Like Canary, give me a brilliant imaginative and prescient, like summer time is right here. We recorded it dwell, and the manufacturing utterly formed itself from the bounce. 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 at all times beloved when a relentless 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 at all times do extremely nicely) and taking the components to the subsequent stage. It felt actually good off the bat with us all enjoying 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 believe, 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 among our favourite dudes ever and has the voice of an angel. Lyrically, I made a really aware effort to not have as a lot doom & gloom on this album. This track is supposed to be uplifting. If you happen to’re coping with one thing – communicate out, speak in confidence to somebody you like… You don’t must battle each battle by yourself.
Shane Woods: One of many extra enjoyable sounding Mo Lowda songs. I simply had a good friend remind me of an amazing reminiscence from my childhood. My drumset was in my bed room and you could possibly hear me bashing away all the way in which down the block. Our neighborhood mailman was at all times a fan of our Husky and heard me enjoying 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 once I hear this track regardless that 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 track 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 track. 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, however it form of crosses over to the guitar world as a result of I used a number of amps whereas monitoring it to have totally different riffs stick out and punctuate Jordan’s rhythm half. I keep in mind getting actually bizarre with altering delay instances whereas Kirby was monitoring some lead overdubs, which creates cool artifacts within the stereo subject. That is in all probability the heaviest monitor now we have ever made, and I really like that!
Jordan Caiola: Octave guitar. We f*ing love octave down guitar. You’ll be able to hear it beforehand on ‘Coast is Ready,’ ‘Lastly/Guess the Home,’ ‘Shenandoah’, ‘Earlier than Midday’ and extra. It at all times has a lot coloration, and oddly generally 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 previous rehearsal voice memo recording. This one is totally different for us – and I dig that. I really like how the drums enter the track. 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 dwell.
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 could possibly be a track that’s higher suited to its title than this one. Serendipitously, it was the final track to be written, and it’s the final monitor on the album. It was based mostly off of a lower up drum loop I took of Shane enjoying at my studio. I put a bass line on it and forgot about it, till we had been on the lookout for seed concepts for this report. We determined to pursue the thought, and the start of it got here collectively at Huge 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 among 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 believe that is the best track we’ve ever made. I’ll let the boys go in depth on that stuff and discuss its that means for me. I misplaced my dad to most cancers in 2013 once I was 22. 11 years later… and on the appropriate (or unsuitable, I suppose) night time, 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 identical time, I can giggle and smile upon candy recollections 99.9% of the time with no drawback. 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 goals I’ve had of him since his dying. 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 isn’t any dramatic operating embrace or tearful reunion, however as a substitute, a simultaneous understanding that he’s in reality nonetheless gone, however his spirit stays in our lives. ‘Tailing the Ghost’ references that intangible factor – so shut, however at all times out of attain. All of us have ours. After you hearken to this track and hopefully drift away into that outro… Hug your dad and mom if you happen to nonetheless have them and go hearken to Van Morrison’s ‘Candy Factor’. For me… and for my dad.
Shane Woods: This track lives many lives till its finish, and is the proper album ender/title monitor. The drums have a bunch of perspective within the verse, then change to a lightweight swing and move within the refrain. This track took fairly a while to craft, and we tried to mash up a pair totally different tracks, riffs, and feels onto the tip 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
