In Austin, Texas, the name David Ramirez is fairly ubiquitous on the local public radio station, KUTX. Ramirez has played countless shows in the “Live Music Capitol” over the past two decades and was even named “Songwriter of the Year” in 2020 by The Austin Chronicle. David Ramirez has long been an artist unafraid to lay bare his emotions, but All The Not So Gentle Reminders sees him take that vulnerability to new heights. His sixth studio album is his most daring yet; sonically expansive and lyrically unguarded, it’s an album that embraces the full spectrum of his artistic expression.
Opening with the ambient and meditative “Maybe It Was All A Dream,” Ramirez sets a surreal, dreamlike atmosphere before grounding the listener with his distorted voice. This instrumental introduction, punctuated by the voice of his mother urging him to wake up, serves to foreshadow the album’s themes of nostalgia, self-discovery, and reinvention. “Waiting for the Dust to Settle” is a mid-tempo synth-tinged anthem brimming with cautious optimism, its lyrics painting a picture of someone standing on the precipice of change. Meanwhile, “The Music Man” tells the semi-autobiographical story of Ramirez’s musical awakening, capturing the transformative power of art with cinematic detail. The fairly downtempo, piano-driven track is joined midway by a choir of voices and strings that add to the cinematic feel.
The dynamic changes on All The Not So Gentle Reminders continue on the sultry and jazz-inflected “Twin Sized Beds,” its rolling piano and baritone sax creating a smoky, darker atmosphere. “Dirty Martini” shifts gears with a bluesy swagger, punctuated by a David Gilmore-esque guitar solo that adds to its narrative depth. “I Got People” is driven by a syncopated piano that brings to mind the best songs of Randy Newman and wrestles with the contradictions of loneliness and longing. Ramirez’s vocal delivery is at its most poignant here as he sings of companionship that ultimately feels hollow. “Deja Voodoo” continues in this vein, haunted by a sense of déjà vu as it explores the cyclical nature of relationships. “Holiday (Crush)” brings a shimmering, almost pop-inflected lightness to the mix that feels reminiscent of Ryan Adams with its earnestness.
All The Not So Gentle Reminders is an album of contrasts, both intimate and grand, melancholy yet hopeful. Ramirez’s ability to blend genres, from folk to jazz to ambient textures, speaks to his evolution as an artist. More than just a collection of songs, this album feels like an odyssey, one that rewards listeners willing to immerse themselves in its depth and complexity. It’s a testament to an artist at the height of his storytelling powers.
