looking at djo's 'twenty twenty' in 2020
By Lucy Ellsworth
Joe Keery, under the name Djo, released his debut album Twenty Twenty on Sept. 13. Although fans were distraught upon hearing that he was leaving Chicago-based band Post Animal, Keery quickly filled the void with a new psychedelic album. While Twenty Twenty is remnant of Post Animal’s relaxed sound, it distinguishes itself with powerful instrumental solos and distorted vocals. The 12 tracks, all written and produced by Keery, contain lyrics discussing his newfound fame as a star of Netflix’s Stranger Things, his relationship with actress and girlfriend Maika Monroe, and his departure from Post Animal. Throughout the album, the lyrics are often overshadowed with the guitar solos and synthesizers as Keery’s dreamy voice floats above the music.
“Roddy” was the first single released on July 19. It references leaving Post Animal with relaxed guitar melodies but abruptly changes with a distorted bassline to match the new deeper vocals. The second single “Chateau (Feel Alright)”, released August 9, starts with a warped guitar riff as its slow, melancholy sound transports listeners into a dreamlike state. The third and final single “Mortal Projections”, released August 30, begins to feel a little repetitive, with a very similar style to “Roddy” and “Chateau (Feel Alright)”, but branches off with a new and catchy chorus and guitar solo, before ending with a haunting a capella line.
The rest of the album is as promising as the singles. The song “Tentpole Shangrila” reveals his reluctance about his newfound fame as he sings, “Let me down, this is freaking me out / All of this attention holds the glamorous all inside” and “This tentpole Shangri-La has turned me into something trite”. “Just Along for the Ride” has a similar theme, with lyrics like “My anonymity is gone / (Is that just what you want?)” layered over drums and intermittent guitar riffs.
“Flash Mountain” stands out as the most danceable track, with almost chantlike vocals backed with strong guitar, leading into an increasingly distorted guitar solo accented with sound effects before going back to the chorus. The album ends with the sweet, slow “Mutual Future”, which juxtaposes its acoustic beginning with the rest of the heavily edited album. Because of this, it feels the most personal as he sings about a wavering relationship. His voice stands out as real and pleading before slowly shifting back into distortion as it disintegrates into the instrumentals.
Despite the repetition present in some of the songs, Keery creates an addictive sound and interesting vocals that listeners can get lost in. Preferring to keep his acting separate from his music, it is obvious Keery values the craftsmanship of his music and has not let his fame affect his sound. Twenty Twenty is a poignant album with a unique point of view as it combines retro psychedelia with modern indie rock to create something transcendent, leaving listeners impatient for more.