Mojo Thunder – The Infinite Hope
From the southern, bluesy, soul shaded classic rock beginnings of their first two singles and 2019 EP Loose Lips, Kentucky band Mojo Thunder - Sean Sullivan (vocals, guitar), Bryson Willoughby (lead guitar), Zac Shoopman (drums), Andrew Brockman (bass) - rocked it up somewhat for their full-length debut Hymns from the Electric Church in 2021.
(The latter blended the styles and influences of the likes of the Black Crowes, Zeppelin and Skynyrd, to name but three, to impressive effect).
Now, following on from last year’s Alive With Friends (the cover-medley of The Who’s 'Baba O’Riley-Who Are You' is worth the admission fee on its own) comes not just the band’s second studio album, but what could be described as the second chapter of their still relatively young career.
And that's because The Infinite Hope is a Southern-Alternative (as the band have been dubbed) step and a half beyond what has come before.
'The Sun Still Rises,' which opens with the chime of bells heralding in a new day (and for the band, in terms of this album and its direction, it surely is), makes for a bright, pop-sheened alt-rock opening, one that nods toward the likes of Mechanical Bull era Kings Of Leon (as do a few of the songs).
But, importantly, while there are discernible influences (such as the aforementioned Leonites) the band have very much created their own, new identity here, as the down-tempo B part, subtle but effective use of cello (from guest musician Seth Murphy) and celebratory, tempo-changing second half of ;The Sun Still Rises; all bear out (this is a band with a great sense of dynamics).
The more angular and rhythmic 'Coming Back To You' needs, and deserves, multiple listens to catch the nuances, although the charm of the lyric is immediate ("wherever I go, whatever I do, I’ll spend the rest of my life coming back to you").
The deceptively infectious and groove driven 'Step by Step' speaks to always having to move forward, but not too fast ("the wheel moves faster, we move to disaster; we're climbing the ladder, but forward seems backwards").
The band’s new found angular pop meets southern alternative stylings return for the up-tempo, and hooky as hell 'Let it Fall,' which lyrically considers having to accept mistakes, or loss, before you can truly move forward.
(The latter blended the styles and influences of the likes of the Black Crowes, Zeppelin and Skynyrd, to name but three, to impressive effect).
Now, following on from last year’s Alive With Friends (the cover-medley of The Who’s 'Baba O’Riley-Who Are You' is worth the admission fee on its own) comes not just the band’s second studio album, but what could be described as the second chapter of their still relatively young career.
And that's because The Infinite Hope is a Southern-Alternative (as the band have been dubbed) step and a half beyond what has come before.
'The Sun Still Rises,' which opens with the chime of bells heralding in a new day (and for the band, in terms of this album and its direction, it surely is), makes for a bright, pop-sheened alt-rock opening, one that nods toward the likes of Mechanical Bull era Kings Of Leon (as do a few of the songs).
But, importantly, while there are discernible influences (such as the aforementioned Leonites) the band have very much created their own, new identity here, as the down-tempo B part, subtle but effective use of cello (from guest musician Seth Murphy) and celebratory, tempo-changing second half of ;The Sun Still Rises; all bear out (this is a band with a great sense of dynamics).
The more angular and rhythmic 'Coming Back To You' needs, and deserves, multiple listens to catch the nuances, although the charm of the lyric is immediate ("wherever I go, whatever I do, I’ll spend the rest of my life coming back to you").
The deceptively infectious and groove driven 'Step by Step' speaks to always having to move forward, but not too fast ("the wheel moves faster, we move to disaster; we're climbing the ladder, but forward seems backwards").
The band’s new found angular pop meets southern alternative stylings return for the up-tempo, and hooky as hell 'Let it Fall,' which lyrically considers having to accept mistakes, or loss, before you can truly move forward.
Just when you think you have the new Mojo Thunder sound sussed, the band’s roots come calling on the southern rockin' and rollin' 'Holy Ghost,' a tale of a small town Preacher gone bad.
Forlorn but beautifully delivered contrast then come by way of 'Memphis,' a modern southern ballad that features guest player Lee Carroll on organ and a great vocal from Sean Sullivan.
It’s a true album highlight, as is the jaunty, southern folk-jig arrangement that drives the core of the semi-anthemic and big sounding 'Caroline.'
'Gettin' on a Binge' is a fun mid-tempo that features a tasty, guitar-led finale, while the atmospheric delicacy of 'Grace' (which again features Seth Murphy on cello) brings out the vocal best in Sean Sullivan.
The band leave the best to last with seven-and-a-half minute album closer 'Greetings From Western Art.'
Kicking off as a vibrant, up-tempo example of the band’s southern alternative sound, the song then barnstorms into, and closes out on, a classic southern twin-guitars/ call and answer burn-out (take a bow, Skynyrd, Hatchet, Outlaws, et al).
A lyrical observation on the search for truth and hope this seven-plus minute slice of Western Art may be ("It’s clear to see a change is long overdue"), but you have to love the line "some people call it rock 'n' roll, but I just think it’s faster rhythm and blues," because from where Sean Sullivan and his band of Kentucky brothers are standing, it pretty much is.
Produced & mixed by Duane Lundy (Ringo Starr, Justin Wells, Sturgill Simpson), who also contributes synths and keys to a few numbers, Mojo Thunder’s second studio album is a collective call to arms from a band that have something musically new and lyrically refreshing to say, and refuse to be boxed into a genre corner.
That such traits should now transfer to further recognition and wider appeal (admittedly tricky in a musical environment where success seems to equate to how formulaic or 'sounds like' a new band or act happens to be) is the infinite hope.
Ross Muir
FabricationsHQ
Forlorn but beautifully delivered contrast then come by way of 'Memphis,' a modern southern ballad that features guest player Lee Carroll on organ and a great vocal from Sean Sullivan.
It’s a true album highlight, as is the jaunty, southern folk-jig arrangement that drives the core of the semi-anthemic and big sounding 'Caroline.'
'Gettin' on a Binge' is a fun mid-tempo that features a tasty, guitar-led finale, while the atmospheric delicacy of 'Grace' (which again features Seth Murphy on cello) brings out the vocal best in Sean Sullivan.
The band leave the best to last with seven-and-a-half minute album closer 'Greetings From Western Art.'
Kicking off as a vibrant, up-tempo example of the band’s southern alternative sound, the song then barnstorms into, and closes out on, a classic southern twin-guitars/ call and answer burn-out (take a bow, Skynyrd, Hatchet, Outlaws, et al).
A lyrical observation on the search for truth and hope this seven-plus minute slice of Western Art may be ("It’s clear to see a change is long overdue"), but you have to love the line "some people call it rock 'n' roll, but I just think it’s faster rhythm and blues," because from where Sean Sullivan and his band of Kentucky brothers are standing, it pretty much is.
Produced & mixed by Duane Lundy (Ringo Starr, Justin Wells, Sturgill Simpson), who also contributes synths and keys to a few numbers, Mojo Thunder’s second studio album is a collective call to arms from a band that have something musically new and lyrically refreshing to say, and refuse to be boxed into a genre corner.
That such traits should now transfer to further recognition and wider appeal (admittedly tricky in a musical environment where success seems to equate to how formulaic or 'sounds like' a new band or act happens to be) is the infinite hope.
Ross Muir
FabricationsHQ