Performing under the moniker Fruit Bats, Chicago’s Eric D. Johnson has managed to seamlessly slip in and out of genres throughout his 25-year career, from indie rock and pop to experimental folk. Following up last year’s Baby Man, a surprisingly intimate record with Johnson handling the entire album on his own, he is back with a full band on The Landfill, and the difference is obvious from the opening track.
“The Saddest Part of the Song” sounds like a classic Otis Redding tune before Johnson’s distinctive reedy tenor kicks in, occasionally reaching a falsetto. It’s a curious pick for an opening track, but a great song regardless, with layer upon layer of instruments. “All Wounds” is closer to the indie folk sound Fruit Bats is known for, but…
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A lot can be conveyed through minimal movement. A simple raised eyebrow shot towards a comment can showcase a lack of trust, an involuntary smile can highlight the love between people, and an acoustic, lyric-driven ballad can encapsulate an entire life’s journey. The closest most of us will get to a conversation with an artist we admire is through the vulnerability expressed in their music. A soft, slow, simplistic cut off an album begins to showcase an artist’s approach to songwriting and storytelling, and says a lot about the level of honesty an artist is willing to reach in order to connect with the listener.
Fruit Bats, the ever-evolving project of Grammy-nominated singer/songwriter Eric D. Johnson, is no stranger to gentle, swaying balladry.