With a life in flux, Joe Keery is at The Crux of his career. After concluding his work in Stranger Things after nearly a decade, it’s onto the next chapter – and his third record thrives in this limitless limbo period.
While it isn’t as funky and dancefloor-ready as 2022’s Decide, The Crux peppers Djo’s synthetic world of psychedelia with more reflective textures; from the occasional hard rock edge to acoustic guitar musing, this record floats in a world of nostalgic sounds as Djo unpicks his own history.
The record’s mish-mash of genres is a by-product of Djo embodying a slew of different roles. It’s the perfect meeting point of the actor-cum-musicians talents; each track supposedly sees Djo stepping into another character’s shoes.
‘Charlie’s Garden’ sees Djo indulging in a Beatles-drenched daydream, soaking up the simple pleasures of cups of coffee and the daily grind, while ‘Gap Tooth Smile’ revels in smooth guitar tones. The track nods to Queen both sonically and lyrically, Djo likening his love interest to a “killer queen” with an utterly irresistible rockstar edge.
However, rooted in each persona, flickers of the man himself seem to show. Opening track ‘Lonesome Is A State Of Mind’ lays the first of a trail of breadcrumbs, the warm bounce of synths paired with lines like “my future’s up in the air”. The existential musing also rears its head on ‘Egg’, the track curiously creeping around inside your head, vocals jumping to and fro as Djo croons “I’m not enough…”
Elsewhere, ‘Fly’ quite literally floats in this liminal limbo period of Djo’s life, the track a gentle, comforting haze as Djo admits “this chapter is through” and looks on to the next one.
Despite moments of gnawing anxiety and self-critique, the pain is balanced out by Djo’s signature love of psychedelic rock and charismatic synths. ‘Basic Being Basic’ is a total stand out, invigoratingly fizzy synths soaring over robotic drum machines and vocals absolutely fabulous. The track also sees Djo insisting “I’m not funny” as it grinds to a halt, but The Crux suggests the opposite. Much like Decide, this record boasts some brilliant tongue-in-cheek jest.
Lyrically, the humour and pain is commendably delivered. Whether mourning the loss of a lover or considering loneliness, he keeps things simple yet impactful. It perfectly pairs with Djo’s vibrant and mutable musical style, from ‘Delete Ya’s ode to Eternal Sunshine Of The Spotless Mind, begging to remove memories of the past, to the piano-led ode of love that is ‘Golden Line’.
While this record masquerades as a way of experimenting with nostalgic notes, the old, familiar sounds only serve as a vessel to explore personal nostalgia. While Joe Keery strives to keep his musical world separate from his personal life, The Crux’s glimmers of introspection really do transform this record into something special.
Whether he’s performing the role of an old-school rocker or embodying the essence of an 80s synth popstar, the heart at the centre is the true crux of it all.
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