In contrast to his Southern roots, Brent Amaker has never shied away from leaving the conventions of Western music behind, a trend that rings true throughout Brent Amaker and The Rodeo’s new self-proclaimed “divorce album,” PHILAPHOBIA.
Meshing cowboy country western and rock n’ roll with Amaker’s bold baritone drawl and experimental sound, PHILAPHOBIA is the next captivating chapter of this unique artist’s era.
The new album depicts Amaker wrestling his demons and subverting frontier masculinity in songs about his former marriage, and the evolving as a human that comes along with it — both bad and good.
PHILAPHOBIA guides listeners through a resonating yet provoking stream of emotions, opening with the catchy, swift cruisin” song of resistance, “Let’s Drive.” A hard “driving” country tempo with Western-fused electric guitars combine with lyrics like, “I will not put away my boots as long as I’m alive / There’s no point in getting gas unless you’re gonna drive.” This opening track evokes triumph and acceptance over a hopeless situation in divergence from some of the more pessimistic tracks featured later on the album.
Many of the songs on the album contrast an upbeat tempo with despondent lyrics, perhaps best represented by their October single “Take My Heart.” With a strong driving country sound, “Take My Heart” expresses both the tender pain of an ending relationship and the pride of reclaiming one’s life, a consistent theme of the album. The lyrics, “Rest assured you left your mark / I will not let you take my heart,” capture the spirit of the track and album: sentimental and painful, yet victorious.
After spending most of his career playing in rock bands before settling in Seattle where the band is based, Amaker transitioned into more Western-inspired music in his late thirties. This experience is featured and prominent on rockabilly-esque songs like their November single “Take it by the Horns” and “Los Angeles,” the latter of which takes on a spiteful, self-assured tone, making it a standout on the album.
“Los Angeles” and its brimming energy along with Amaker’s consistent Johnny Cash-like voice make way for the Philaphobia’s final track, “Wanted.” After leading the listener through acceptance, melancholy, and anger, the album ends on a note that is dark, haunting, and somewhat mischievous, truly allowing the singer’s commanding vocals to shine.
Attention to detail makes the band’s music delightfully cinematic, making it unsurprising that their tracks have been featured on television shows such as Big Little Lies and Californication. This cinematic presence and almost satirical vibe is reflected in many elements of PHILAPHOBIA, from the call-and-response vocals to emotionally pointed instrumental layering.
The lyrics of the album ring clear as a bell and are cut and dry. Amaker’s nostalgic Western voice along with his utterly killer band’s performance hits on numerous levels, and their music undoubtedly stands out from the crowd.
The bookends that are “Let’s Drive” and “Wanted” perfectly frame the album, as PHILAPHOBIA embraces every note of this epic life journey, evoking an overall defiant tone that celebrates the mix of emotions that comes with the ever-changing nature of relationships.
