ALBUM REVIEW: Gregory Alan Isakov – Evening Machines

By Hannah Rogers

Singer/songwriter Gregory Alan Isakov’s sixth studio album, Evening Machines, released Oct. 5 of this year, is an amalgamation of indie and folk infused ballads, accompanied by delicate vocals, strings, and percussion. In an interview with Atwood Magazine, Isakov revealed that most of the songs were written in Colorado, and are intended to be infused with the spirit of the mountainous state. Though not really a departure from his usual sound, which is full of thoughtful, gentle ballads accompanied by subtle instrumentals, the album does not disappoint.

The album opens with “Berth,” a melancholy, indie-sounding lament about making peace with hard times of the past. The next song, “San Luis,” is a calm ballad, which opens with just an acoustic guitar and makes pleasant use of quiet drums in the background. “Southern Star,” the third track, is a more upbeat, short song which makes interesting use of strings—starting off with swift plucks and leading into more elaborate violin solos. “Powder,” accompanied by a female background vocalist, opens with an ethereal, almost suspenseful build to the chorus, with nature-oriented lyrics and a relaxing blend of instruments and vocals. “Bullet Holes,” a more upbeat love song, starts off with soft humming and focuses more on the sound of Isakov’s vocals—especially in the chorus—than the other songs on the album. The next song, “Was I Just Another One,” is a lyrically poetic, thoughtful, and soft ballad with an instrumental build-up towards the end, and an easing back into quiet to finish.

The second half of the album starts off with “Caves,” which was released as a single in August of 2018. A steady drum beat carries the song, as a group of background vocalists sing along with Isakov to create the feeling of an uplifting, wholesome memory, reminiscent of sitting by a fire and having a jam session with friends. “Chemicals,” a darker piece, is about being under the influence and feeling like “gravity’s gone,” with high-pitched, impactful vocals introducing the first chorus. Another single, released in September, “Dark, Dark, Dark,” is an ode to a woman named Maria, who also appeared in Isakov’s 2013 album, The Weatherman. This song is a catchy foot-tapper, and it makes sense that it would be released as a single; there is also a delightful banjo solo worth mentioning. “Too Far Away,” a wistful and serene lament, is about past memories, with an emotional build-up of sound at the end. “Where You Go,” another (folkier) lament, is about the desperation of feeling lost or stuck, and has a nice balance of instruments—especially the delicate guitar riffs—and vocals. Finally, the album ends on a positive note with Isakov’s proclaimed favorite of the 12 songs, “Wings in All Black.” In the interview with Atwood Magazine, Isakov described it as the “ultimate redemption song,” because he wrote it about looking forward after coming out of a hard time: “I’ve been down, down, down / Now I’m back.”

Overall, Evening Machines provokes a sense of peace and thoughtfulness about the world. It is a journey through life’s emotions, both melancholy and content, nostalgic and regretful. It is the perfect album to listen to when you want to feel: whether you are sitting in your string-lit bedroom, or on a solo walk in the woods. Isakov knows how to evoke a sense of introspection through delicate, poetic vocals and soft, but deliberate instrumentals.