Rhett Miller of Old 97’s Takes Unexpected Musical Turn with ‘The Misfit’ (ALBUM REVIEW)

After eight solo albums and more than a dozen records with the Old 97’s, it’s safe to assume you know what you’re getting with a new Rhett Miller album. That’s what makes The Misfit, his latest, so compelling. The Roots/Americana foundation that has been the defining factor of most of his music dating back to the 1990s, while here occasionally, takes a backseat to a slew of other genres on these eleven new tracks.

Working with his upstate New York neighbor, Sam Cohen (Kevin Morby, Sharon Van Etten, Danger Mouse), the producer’s influence is all over the record with his trademark electronic sound. That doesn’t make it a bad record, just not what most are expecting. The opening track, “Heart Attack Days,” with the programmed drums and synth line throughout serves as a prelude for what follows. 

The fantastic “Follow You Home,” sounds like a lost track from Tom Petty’s Wildflowers, and the equally great “Go Through You” has a similar Petty/Jeff Lynne vibe. There are a couple of songs here and there that never really pay off, like the slow tempo “Fascination” that just sounds flat compared to some of the stronger songs surrounding it. Despite dipping into different genres, Miller thankful has kept his knack for writing strong character-driven narratives – a hallmark that goes back to the very first Old 97’s albums. 

Elsewhere, Miller cycles through Power Pop and psychedelic guitar rock and even folk and pop. The album closes on “You’ll Be Glad,” coated in church organ and lyrics delivered in almost a reverent whisper, perfectly caps Miller’s most eclectic album yet. The reverb-heavy “Just When It Gets Good,” with its swirling guitars and abandoned amusement park organ and dark gothic vibe manages to be one of the most experimental tracks here (on an album filled with experimental songs). For the most part these musical gambles and trials pay off. Even if it takes several listens for that realization to sink in.