Perfect Record

In the realm of indie music, authenticity often takes precedence over grandeur, and artistic expression triumphs over commercial trends. Enter Hello June, a band that embodies these very principles in their latest release, “Artifacts.” An album that invites listeners on an introspective and emotionally charged listening experience through topics deeply intimate and as common as drawing a breath, “Artifacts” is a striking work in modern music. Let’s take a deep dive into this record to uncover the soul and depth that sets Hello June apart from so many.

West Virginia, the band’s home, is a state renowned for its scenic beauty, rugged terrain, and rich cultural tapestry woven by generations of hardworking folks. It’s a place where deep-rooted traditions blend with the influences of a changing world, and it’s within this remarkable backdrop that the band Hello June emerges as an undeniable musical force with their latest album. In a landscape where Appalachia’s legacy reverberates through the ages, Hello June’s music matters, and it matters profoundly.

From the moment you drop the needle or press play on your digital device, “Artifacts” envelops you in music that represents an almost cinematic soundscape. The album’s opening track, “Sometimes,” immediately transports you to a realm of personal frustration and introspection. Sarah Rudy’s dreamy yet resolute voice captures the essence of a dusty, winding road through the present, the past perhaps even the future, where forgotten memories reside.

The album’s title is aptly chosen, as “Artifacts” indeed feels like a collection of found treasures that capture real life, authentic emotion, and the yearning — that cuts so deep it hurts — for human connection. The band manages to imbue each track with a sense of personal history and weight, making it feel like you’re unearthing hidden secrets about yourself with every listen. “Sometimes” sets the tone by asking us to think about the emotion that might only leave us with enough to “fall down” and reflect, as if the band is guiding us through a museum of personal history.

The music of Hello June matters for a multitude of reasons. They are the torchbearers of Appalachian resilience, masters of atmospheric sound, and poets of profound introspection. Their artistic journey extends beyond mere sonic experimentation; it’s an exploration of life’s rawest emotions, the intricacies of human foibles, and the undeniable allure of places and communities often overlooked in the annals of popular music as real social locations. These places we are from matter. They shape us in ways we recognize and ways that we only understand later.

Throughout “Artifacts,” Hello June balances both hushed intimacy and roaring intensity. “Honey I Promise” serves as an example of this delicate equilibrium. The melancholic verses, driven by almost moody guitar work, lead to an explosive chorus where Rudy’s vocals soar and the band’s rhythm section, consisting of Whit Alexander and Caleb Crosby (Tyler Bryant and the Shakedown), propels the song to greater heights. It’s a rollercoaster of emotions that demands your attention, echoing the complexities of real-life relationships. The track’s steady drumbeat and echoing guitars build an emotional crescendo that mirrors the turbulence of a departure from a failed relationship.

“Artifacts” explores the theme of emotional bonds — “tied up together” from a variety of angles. “Interstate” paints a vivid picture of distance and separation. The imagery in Rudy’s lyrics transports you to a highway somewhere, capturing the bittersweet feeling of watching someone you love fly away. The fading away is the most heartbreaking. And realizing that last word, that last conversation, the last laugh between the two of you may not have been the one you would want to have as the last moments together, but it is all you have to hold on to. Sharing the fact that you love someone may elude your grasp whether it’s because of foolish pride or “picking a fight.”

Hello June’s penchant for poignant storytelling shines in “Napkin.” Rudy’s lyricism reveals a haunting narrative, evoking vivid images of a flickering film reel of memories. Her vocals convey vulnerability and raw emotion, ensuring that the listener is left hanging on to every word. The song’s dreamy, almost country-like atmosphere provides a stark contrast to the album’s more intense moments, illustrating the band’s ability to traverse a broad emotional and musical spectrum.

One of the standout tracks on “Artifacts” is “Faded Blue” which demonstrates the band’s ability to harness raw, unbridled energy. Rudy’s vocals take on a more rebellious tone here, while the band delivers a raucous performance. The lyrics of defiance and self-reliance cut through the music like a sharpened blade:

kneeled down beside you – scared of all my sins
I’d wait to be forgiven and I’d wait to forget
Start the day with a new fixation
An awkward waltz and a chain reaction
Tell me where do you go, tell me where do you go?

Hello June challenges societal expectations, calling for authenticity and independence. Hold on to the past but don’t let it alone define who you are and what you mean.

In the almost introspective Whiskeytown-like “23”, Sarah Rudy sings about looking back on one’s youth from the safe perch of years down the road. The driving feel of the song only makes the nostalgia that much more bitter and sweet. The driving drums and slinky guitar propel a rhythm that almost hides the intent of the song.

Tracks like “Soft Love” and “The Moon” showcase the band’s ability to harness the enduring spirit of self-disclosure, vulnerability, and the question of being enough for someone else. These songs feel ethereal and spacious while taking their time and in that patience transform evocative melodies that seem almost sparse as if our attention is required. Through Sarah Rudy’s captivating vocals and the intricate guitar work, they weave narratives of love, loss, and the indomitable strength of the human spirit. In the lineage of folk and Americana greats like Bob Dylan and Joni Mitchell, Hello June’s sound is unmistakably imbued with the DNA of a true heartland. Their intricate instrumentation, coupled with Sarah Rudy’s haunting vocals, allows for the construction of intricate auditory experiences. These are not merely songs, but living, breathing entities that envelop you, provoke emotions, and invite you to explore the depths of your own thoughts and feelings.

As we traverse deeper into the album, “No Easy Answer” presents itself as a fascinating almost swaying swagger departure. Its arrangement showcases the band’s experimentation with sound, offering listeners an instrumental match to the passionate lyrics before the song builds to a powerful climax. The passionate, powerful quality of “No Easy Answer” allows the listener’s mind to wander, creating an atmosphere that is equal parts introspective and worldly and yet able to grasp that there is in fact, “No Easy Answer” to most questions, at least to the questions that matter.

But it’s the penultimate track, “California,” that truly encapsulates the essence of “Artifacts.” A sweeping song of epic proportions, it’s a testament to the band’s ability to deliver an amazing groove without sacrificing intimacy. Rudy’s vocals once again shine, delivering a message of reassurance and understanding in a world that often feels chaotic and overwhelming.

Closing the album is “Take Me Home, Country Roads,” an introspective cover of that well-known tune that seems to bring the journey of the album full circle. Hello June, with all the heartfelt sentiment they can muster, bid farewell to the past. As Rudy sings the refrain “Take me home…” the band encourages us to embrace the present and move forward with the knowledge and strength gained from our personal artifacts.

“Artifacts” by Hello June is a rare record in the world of modern indie music. It’s an album that manages to be both nostalgic and forward-looking, intimate and grand, all at once. The band’s ability to capture complex emotions and translate them into music is nothing short of extraordinary. Sarah Rudy’s vocals, poetic lyricism, and the band’s masterful instrumentation create a unique, captivating sonic experience that stands out in an increasingly homogenized musical landscape. “Artifacts” is an album that deserves to be dissected, analyzed, and celebrated for its depth, creativity, and emotional resonance. It’s an album that reminds us of the power of music to touch our souls and make us reflect on our own “artifacts” in this ever-evolving path called life.

This music transcends time and place, resonating with listeners in their quest for meaning and understanding. The lyrics serve as a mirror, reflecting the innermost thoughts and emotions that often remain unspoken. Hello June’s “Artifacts” is a sonic masterpiece — and we are prepared to die on that hill to defend that assertion — that deserves a place in the hearts of all music fans. It is a timeless record that captures the essence of the human experience, a treasure chest of emotions waiting to be discovered with each listen. As we leave the album’s soundscape behind, we’re reminded that sometimes the most precious artifacts are the ones that reside within ourselves, waiting to be explored, cherished, and shared with the world.

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Standing in line in the Minnesota heat having arranged to get to a decent record store which was a major Herculean task in of itself for a kid in college where the big records of hair metal and top 40 dominated the sparse “selection” of the college record store and, for that matter, most record stores. But how many universities have a real record store. The so-called record stores I had access to only sold a handful of records in a space that was more about hanging out between classes or just hanging out rather than having a wide selection of music available. Which is fine, but to buy a record… to purchase an album required a far more sacred space than was available at the university I attended. So I drove a few hours to get to a real record store.

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So after some time driving, there I was in line with a bunch of people just like me. We were connected. When I say that, we did not look like one another. There was no badges or uniforms… well, other than the patches on jackets. I remember seeing one guy with a Husker Du sticker on the back of his jacket and I immediately had great respect for him even while I debated in my mind if he preferred “the Huskers” to the ‘Mats. For me, it did not matter – both bands were incredible and they both came from our home town. Yeah, I know now that Bob Mould was not from Minnesota but went there for school, but that did not matter to those of us who loved that sound. These bands made music in the ceremonial home town of all wayward Minnesotan kids, Minneapolis-St. Paul or the Twin Cities or for us ‘the cities.’

We were waiting for the record store to open so we all could purchase the first Replacements record without Bob Stinson. I did not know then, what I know today. Bob had been thrown out of the band in the worst possible way. But it did not matter, just as Ralphie had his mania for a Red Ryder, we had ours for the latest ‘Mats record. It was not a bridge too far, it was real and authentic and it was obtainable.

All many people in the line knew was the buzz. The ‘Mats were on a major label. This was a record that we all knew was titled with an odd turn of phrase, ‘Please to Meet Me.’ “What does that even mean?” I thought at the time. It did not matter. This was the band that created unbelievable records such as ‘Tim’, ‘Let It Be,’ ‘Kids Don’t Follow’ and ‘Stink.’ I loved this band. Hearing songs like ’16 Blue’ spoke to me on a level I could not fully understand, let alone explain to someone else. I was fortunate. I worked in a college radio station and had heard an interview promo record that the label, Sire, had sent out to prime the pump with college radio. You have to remember that there was no Internet back then — the idea of a mix-tape or a cool college station was as close to open music discovery as one could find. And I had heard a few of the songs. I still could hear ‘Alex Chilton’ in my head as I waited in line. It was intense, it was both less raw than the band’s previous work and a solid continuation of their approach. The power and direct lyrics of that song stay with me today. But back then the production was so different than the previous records. “Was that horns on the one song?” I thought to myself. “That is strange for a ‘Mats record.”

So, we stood in line in the Minnesota heat waiting to buy ‘Pleased to Meet Me.’ We knew it was going to be good. And as we were stood waiting, striking up conversations with other ‘Mats fans, we could see the boxes being opened through the windows. You wonder which one you are going to get. You know you are going to take it home and play it completely — side 1 and then side 2 and then repeat. If I followed my normal routine for a first listen, I would have several hours set aside to just listen and try to absorb it.

There was excitement in the line when the door opened. We were told that we could only buy one copy, a few people grumbled. It did not matter to me. The rest is still a daze – pretending to be interested in a few other things but that was not true and I simply did not have enough money. I vaguely remember buying the record, making some small talk, leaving for the car and holding the new baby close to my chest, lest it fall. This was a record, it could be damaged on a fall and I did not have the money to buy another and could not. Somehow I got home when all I wanted to do was to hear it. The crazy excitement of music discovery flowed in my veins. New music. New Replacements music. I remember coming in to my apartment and putting the record on… it was not until the third song that I realized I had not closed the door.

It was perfect.

It remains perfect.

“Step right up son…”