Observation, empathy, and rhythm — the trio that makes up Americana and folk singer-songwriter Chris Bullinger’s versatile new album, Waitin’ to be Seen – Part 1, a culmination of cleverly composed experiences that rest between innate connectivity and life’s intrusion. In its entirety, the conceptual record will be 23 songs and broken down into two parts.
Creeping in with an effortless Peter, Paul, and Mary-esque acoustic guitar line, “One Complete Connection” sets the album into motion with rich vocal rasp that precedes delicate chorus and classic piano, creating a grand textural soundscape. Reflecting on the beautiful chaos of the human existence, the tune centers itself on the timeless search for love, incorporating the witty, mundane moments that fall between.
“Darlin’ ‘n’ Me” picks up the pace with Modest Mouse-reminiscent guitar themes, with an additional groove emulating from the vintage organ synth. The lead single of the album, the bluesy bop hints at Bullinger’s musical influences of Bob Dylan, Townes Van Zandt, and Steve Earle with its infectious harmonizing pull. Featuring muted aesthetic hues and eclectic inspiration, a uniquely and creatively animated music video accompanies “Darlin’ ‘n’ Me,” supported by Tweedle Records.
Mystical and mirage-like in its instrumentation, “I’m Not Comin’ Back Home,” captures the cinematic, Western scene of a man and his suitcase taking the world’s offers head on. A tug-of-war between peace and a hint of somberness paints the music’s map as Bullinger frames an age-old picture with tasteful rendition between grounding bass drum and high-end guitar waves.
A matter-of-fact send off, “Payin’ Dues,” as the closing track of the album, asserts the grand sonic finale that almost hints at its brewing throughout the album with electric sax and a deep blues bass groove that’s just too luring to ignore. As gruff vocals come and go, grand piano fills occupy the space with grandeur, just for the vocals, distortion, creeping keys, and guitar effects to transcend the album to its close.
An exquisite pairing, “Payin’ Dues” and its melodic fluidity work so well with its stop-motion audiovisual counterpart music video, which follows the musical shifts with collaged cells surrounding an antique circus theme. Much like the famous 1970s film Fantastic Planet, the audio to visual translation accentuates the song’s curvatures with a catching experimental aura.
“This music represents a reinvestment in my creativity—it’s been waiting to be seen,” Bullinger states. “Its overarching narrative speaks to a quest for authentic connection. As if this depth of connection gives you some kind of recognition—like someone hearing the tree that fell in the woods.”
With intentions rooted in the betterment and connectedness of the people who interact with his work, Bullinger has always followed his drive to be involved in the people’s wellness, pivoting from a career in solar energy to creating a community rooted in Nashville and steeped in Midwest tones for all to resonate with.
Released on August 23, 2024, Waitin’ to be Seen – Part 1 lives as Bullinger’s fifth album, following his 2023 release of the well-received How To Bleed. The newest album completes a trilogy of work with The Bomb Shelter, a Nashville studio known for its warm analog charm, and the collection’s moving tones start simmering the crave for part two of Bullinger’s existential double album.
