It’s refreshing when a good Americana album makes its way to your ears. Indeed, the singular purity of this adherently straightforward genre of modern music, from an American standpoint, lies in the fact that simple quality songwriting easily trumps superficial creativity: a band capable of covering already-traversed topics common to all American culture – love, money, success, happiness, the foundations of government – with a voice equally youthful and mature is bound to be more cherished than one that simply sounds a little different.
Though the Low End certainly doesn’t attract the type of publicity to qualify as “nationally cherished”, present on ¡Rerevolution! are the foundations, arrangements, and lyrics of a gifted alt-country songwriter and a young, midwestern band with chops to spare. The first few moments of “Asymptote” establish singer Dan Hornsby as an existentialist poet who has paid enough attention in even the more tedious math-oriented classes to know that he knows nothing at all.
While making breathing room for the fragile trumpet of Kristin Henry and letting Mark Montague’s guitar careen inebriated through lead solos on “Flightless Wings”, Hornsby finds himself – whether by happenstance, personal mistakes, or grand design – stuck in a place he doesn’t want to be without the tools or resources to leave, yet apathetic enough to describe the situation with a few simple metaphors. As both the finale and the undeniable highpoint of the EP, the title track is one of those surprisingly miraculous songs whose addictive singalong lyrics artfully belie their painting of the modern American as someone acutely aware of our country’s indescribable social imbalance, but too intellectually lazy and indulgent to truly “redo it right”.
Through the fully-evolved composition of the five songs on ¡Rerevolution!, The Low End develop a sonic tapestry and universe of characters multifaceted enough to fill a full-length album. They handily meld lush southern instrumentation with lyrical tropes whose catchiness can’t be overshadowed by a provocative wit that is never far from a Guthrie-esque protest song.