Some records transcend the periphery of their architect and
permeate through the generations. While the debut album of Merritt Gibson is
liberally laced with a teenage outlook, there is a timeless feel to its
content. You could quite easily replace the year 2018 with 1988 and the fit
would remain as compact. The fact that EYES ON US is thrown into the mix with a
wider selection on the maturity scale is a testimony to its strength in terms
of inspirational song writing and acute ability to bury deep into the psyche of
an open-minded listener. A youthful zest froths out of a sophisticated
substance to mark an album that successfully courts the intended desire of
serious subjective approval.
Primarily, the sound settles on an indie pop rock base, with
an astute angling to encompass those of a country, Americana or general
singer-songwriter persuasion. Indeed, the latter appears to be the likely
ultimate destination, although a strong case exists that this University of
Virginia student, heading in the direction of majoring in English, is already
succeeding in this facet of her music.
It came as little surprise to learn that Nashville, and its
sought after infrastructure, was the destination for Merritt to evolve the raw
components of her art into a recorded status ripe for commercial consumption.
The twelve tracks forming this album are a trusted collection of jaunty rockers
and emotive ballads. It is perhaps fitting that the record ends with a trio of
the latter as they probably represent the core muscle of where Merritt is
likely to succeed in music. Leading this trio is ‘Area Code’, a prime candidate for the standout number from a
personal perspective and a song with a heartfelt plea that crosses the land in
retro shades, Wholly epitomised in the lines ‘But punch in numbers, 508-609, I
need another dime /Area code is across the states /City of Angels to an east
coast bay’.
‘Ghost Train’ and ‘Faraway’ complete the trio and
demonstrate Merritt’s ability to resonate in an articulate style. This is
especially relevant to the piano-accompanied pieces and indicative to a way all
twelve tracks are able to tailor for a more frugal solo delivery. This does not
detract from the enhanced upbeat album numbers that give the record a jaunty
feel in places. ‘When You Were Mine’
leads off in fine style leaving the listener in little doubt that there is a
defined campus tinge to the feel. Occasionally, the sound does fall away a
little in reaching out behind its hinterland, but infectious melodies never
cease, along with the sincere way Merritt goes about making her music.
Planting a great organic tune in your mind does the initial
job and subsequently lures you into discovering the nuances of Merritt’s
writing. ‘Truth and Myth’ opens up
with the fabulous line ‘awake in the storm of sleep’. Even when the subject
tracks back to the obvious teenage staples such as in ‘My Best Friends’ and ‘Lovesick’,
the writing elevates the record out of a melange of similar releases and into
the realm of the conditioned ear.
As intimated throughout, a cross-generational appeal applies
and tracks like ‘Eyes On Us’, ‘Burning Red Hot’ and ‘I Heard’ are more than capable of
attracting the casual observant. When trying to relate this to contemporary
artists, it is hard to escape some Taylor Swift comparisons, especially from
her debut album. However, this record has a more cultured edge to it along with
stretching the sound across a multitude of platforms.
The whole approach by Merritt Gibson in getting EYES ON US
out to the world is blessed with a high degree of professionalism. Its intended
audience is likely to be a fluid affair and throw up suprising recipients drawn
into a record awash with many affable traits. Blurred boundaries have their
benefits and this album will flourish on its own merits.