Review by Shannon Shumaker
White Noise is a landmark album from Noah Gundersen that finds him exploring new sounds with ease and confidence, stepping away from the traditional singer-songwriter fare for something a bit more theatrical, experimental and epic. From brighter tracks like “Number One Hit Of The Summer (Fade Out)” to the electronic “Heavy Metals” or psychedelic “Cocaine Sex & Alcohol (From a Basement in Los Angeles),” there’s much more to White Noise than meets the eye, making this one of Gundersen’s best releases to date.
At the very least, White Noise is fun to listen to, and at it’s best moments, it offers longtime fans of Gundersen something new to chew on while giving those who haven’t caught on yet something worth their while. “After All,” the soulful, heartfelt opener is a bit unconventional, but even if the instrumentals don’t hit you right away, Gundersen’s voice certainly will. Then, “After All” quickly morphs into something a little more complicated – a pattern that you’ll notice quite a bit on this album.
Although the transition between “After All” and “The Sound” is a little rocky, you’ll be able to look right past it as soon as the second song really comes in. Gundersen’s voice is just so sincere and subtly powerful that it’s impossible to ignore, but he doesn’t have to scream to get your attention. Instead, he leaves you hanging on every word of the quiet verses and celebrating when the chorus explodes.
“Heavy Metals” is when listeners will get their first taste at the wide range of sounds explored on this album. This song, especially alongside a more rock-driven track like “The Sound” just goes to prove Gundersen’s versatility and ability to shine despite genre or sound. From there, he just keeps churning out hit after hit, especially with the aptly titled “Number One Hit Of The Summer (Fade Out),” which keeps things moving forward with warm guitar tones and smooth vocals. The following “Cocaine Sex & Alcohol (From a Basement in Los Angeles)” then provides listeners darker, somber and really emotional side of Gundersen. But, like the rest of the album, there’s more to this song than meets the eye and quickly, it morphs into psychedelic instrumentals and wild vocals.
Although the middle of White Noise does threaten to fall into a lull energy-wise, “Fear and Loathing” and “Bad Actors” are easily two of Gundersen’s best vocal performances on the record. And of course, just when you’re tricked into thinking “Fear and Loathing” is just a simple acoustic track, it kicks in at the end for an epic finale.
Keeping things going strong throughout the second half of the album are some of the more emotional performances on White Noise. The theatrical sounding “New Religion” is easily one of the most personal songs on the album as Gundersen sings, “All I want is something to love/All I want is someone to love me.” Then, the warm, americana-infused “Bad Desire” contrasts amazingly alongside the haunting and unsettling, “Wake Me Up, I’m Drowning.”
By this point in the album, Noah Gundersen has more than proven himself as a versatile songwriter and the rest is just a bonus. These songs are each powerful on their own, but together offer listeners a stunning view at a multi-dimensional artist. Bringing things to a strong close is the honest, politically driven “Dry Year” before the much needed “Send The Rain (To Everyone).” Emotional, powerful, well written and relevant, the thirteen songs on White Noise aren’t confined by one particular genre or sound, allowing Gundersen to easily get his point across. With a fearless approach to these different sounds and their corresponding subject matter, Noah Gundersen has really created a masterpiece with this release.
LISTEN TO: “New Religion” “Bad Desire” or “Dry Year”
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