Rejoice! Our very own Chicago songsmith Justin Sconza is back with his new album, Fantasy.
Opening with “What A Beautiful Day” – which leads with a spidery guitar line reminiscent of Albert Hammond Jr. or Television – we begin in familiar territory, if only briefly. The guitar is quickly joined by a twinkly, enchanting synth sound that swirls and spirals. We are then reintroduced to Justin’s distinctive dulcet tones. Breathy and atmospheric, he sounds as singular and assured as ever on this new album.
“Every Night” starts with a trademark Justin Sconza drum hit: A short, sharp, snappy snare acts like a starting pistol, from which we’re off to the races. A dreamy, almost-80s feeling guitar melds together beautifully with subtle synths and the Sconza drum sound. The lyrics seem to centre around social circles and habits, and how they can warp and wither with time. The chorus – “Saturday, night, Friday night, Sunday too, every night” – is particularly catchy: Simple, but effective. Like an audio equivalent of the ubiquitous, world-renowned, neo-plasticism work of Piet Mondrian, Justin makes stunning, striking art utilising a rather limited but very beautiful palette.
“Native Birds of Guam” is an upbeat, agitated pop-rock song that feels sunny, breezy, and frenetic. Impossible to listen to without moving your head, it seems to channel the musicality of mid-period The Strokes and combine it with the irrefutable pop sensibilities of acts like The Monkees. This track is filled with a whimsical observational goodness that has become synonymous with Justin’s classic songwriting.
After a stuttering drum intro, “Good Time City” takes the modern indie sound of What Did You Expect From The Vaccines? and filters it through a happy-go-lucky, sunshiny American lens. The resulting tune is a sugary sweet thumper that is quietly confident and propulsive. The use of synths (or keys? Or both?) again on this one is notable and adds a lovely additional dimension.
“Before This Party” is up next and is the shortest song on the album. It’s got a bit more of an edge to it compared to the songs that have preceded it. Slightly grittier, very focused, and with a hint of 70s MOR about it – think Dire Straits or perhaps a bit of Supertramp – it feels like it should’ve been a single.
“Starting Over Again” has more than a touch of the old Disney classic Once Upon A Dream about it. That’s the kind of level the songwriting is operating on here. Retro-leaning but still fresh feeling, this is a breath of fresh air. “Let’s Take a Train Downtown” feels even more traditional: Rooted in a combination of “oompah” and folk/country music, it has a charming naivety and earnestness to it that is instantly endearing and will not fail to put a smile on your face.
Up next is “Dancin’ With The Devil”, a bluesy, rhythmic number that keeps the reverential retro feel going. With a beautifully utilised harmonica and catchy lyrics that feel at the same time measured and throwaway, this is a delightful change of pace and works wonderfully in the relative context of the rest of the album, but also on its own.
“Just As If” is cut from a similar cloth to “Starting Over Again”. With that same bassy, plodding vibe, it really feels like the rhythm section (made up of Justin and Justin – for he plays everything heard here!) is the driving force behind this one. Pared back, simple, and to the point – not for the first time on this album – this is classic, archetypal songwriting.
“Being” closes out the album and is a slow-paced waltz. Justin is fantastic at evoking the emotive spirit of yesteryear, and this song may well be the best example of that. The strings here (which no doubt come courtesy of Justin’s trusty Yamaha DX7) are luscious and full, but also subtle and understated. They complement the song wonderfully, and actually, you can’t imagine it without them.
Short but sweet, well-rounded and perfectly formed… Surprise, surprise, Justin Sconza has done it again. Take a listen to Fantasy below.
Written by Kinda Grizzly
