by John Brouk
Those who live in Paper Castles, shouldn’t rock and roll….er something like that? Well, the Vermont-based group is staunchly ignoring that bungled old adage with their first new record in seven years. Like a rare breed of cicada, Paddy Reagan and co. have emerged from their years-long brooding with a new batch of slacker, country-tinged rock songs that feels like a lively, warm summer night. The album is called I’m Sad as Hell and I’m Not Going to Fake It Anymore, and it might be the most appropriately titled record to come in the year 2025, riffing on Howard Beale’s Network speech that is just as relevant 50 years later. Maybe we need to get madder? Sadder?
The album is grounded with earnest and straight-forward guitars, drums, bass, and Reagan’s distinct vocals, which are more rhythmically spoken than sung, following in the school of Dylan, Simon, Vile, and Morby. The rocking “Content Creator” kicks things off by ripping into that most inauthentic-sounding career path with barbs like “this is our year, just got to find the right ass to kiss” and bouncing electric guitar chords, snare drums, and droning guitar riff. On “Clean + Organized,” a persistent and slinky repeating guitar permeates the verses while Coke bottle-glassy and jazzy arpeggios accent the song’s refrains.
One of the records most memorable and catchy choruses is presented on “Name Changer,” which self-deprecatingly declares “I’m a real bad kisser and an old forgettable friend / I’ll never change my name again / Got a real good handle and I don’t want to give it in”. Warbly guitars and organ notes add to the uncertainty of self that the song conveys. That track also sees a rarity in indie rock, a chord change! My favorite chord progression of the album is awarded to the back-n-forth tension building chords of the verses on “I’m Alright.” A tangly guitar riff on the pre-chorus adds to the charm of this tune.
The album’s midway point “Avalon” begins with nothing more than a calm and sparse guitar riff that twinkles by itself before muted rhythmic guitars and waltzy drums join in. For a brief moment, the song is a cheery little number but then explodes with some of the heaviest instrumentation the album has to offer. A solid wall of guitar distortion and feedback emerge from nowhere making this the most dynamic moment in the tracklist.
Ruminations on what’s real and what is true can be found on “Modern Myth” with a cyclical guitar lick and pastoral drone that creates a lush atmospheric feel. There are also reflections on life and death and growing older on tracks like “Young in a Hurry” and the album closer “Hey Bobby.” The latter has a Grateful Dead, easy, breezy feeling to it and another catchy chorus melody and playful keyboard tone.
With its steady rhythms, plainspoken melodies, and a simplistic-yet-sought-after guitar tone, the album provides comfort in its instrumentation that allows for the poetic lyricism to be appreciated. Like so many beloved albums, Paper Castle’s latest offering doesn’t overstay its welcome with its trim 26-minute runtime and nine tracks. I’m Sad as Hell and I’m Not Going to Fake It Anymore is out now digitally and on cassette from Sipsman.