Djo is ‘The Crux’ of Classic and Contemporary

Djo proves his music prowess extends far past the success of his 2022 breakout hit “End of Beginning,” navigating the complexities of personal growth in “The Crux” — a psychedelic fusion of experimental and classic sounds.

Released April 4., Djo — stage name of “Stranger Things” actor Joe Keery — scales back from the mellow, indie pop atmosphere of his first two albums, 2019’s  “Twenty Twenty”and 2022’s “DECIDE.” 

“The Crux” pulls retro rhythm from the ‘70s and ‘80s, blended with modern, upscaled production and yearning lyricism. 

Opening track “Lonesome Is A State of Mind” pairs a gentle lilt with Djo’s subdued vocals reflecting on familiar moments in time, before layered vocals and sythny instrumentation punctuate the tune’s closure. 

“Basic Being Basic” is anything but. The song’s steady beat couples with a techno-synth melody, laying a new-wave foundation for Djo’s mechanical vocalization. The singer expresses a longing for meaningful connection beneath the surface of materialistic idealization.

“Shuffle numbers, pointing fingers, ditching chats in different apps / That’s basic / It’s not funny, it’s so funny, ” Djo sings.

“Link” is reminiscent of Bruce Springsteen-style heartland rock, pulling listeners back to the ‘80s with the driving presence of drums and optimistic proclamations of a link breaking out of the chain of everyday normalcy. 

Changing gears, “Potion” sets pining lyrics to finger-picked acoustic guitar. The singer’s longing for someone to “leave the light on” for him ties into the record’s greater theme of melancholy in a place of connection.

The “Kiss” by Prince-esque opening riff of “Delete Ya” hooks listeners in before settling into a groove, Djo’s longing to extinguish the memory of a former lover grapples with the confines of nostalgia.

“I’m locked, she’s the key / I’m sinking, guess who’s the sea / It’s hard to shake it off and get back to me when anything’s a memory,” Djo sings.

“Egg” demonstrates how lyricism and melody can compliment different sides to a song’s story. Crescendos in the track’s pre-choruses leave listeners awaiting an explosion of angst, but are left instead with a cliffhanger as Djo reverts into his shell.

“You just gonna let fear take that? / You just gonna let fear take — / Back in the shell, my life in the cave / People go by, I smile and wave,” Djo sings.

Folksy acoustic guitar welcomes listeners into “Fly,” the record’s reprieve from techno-synth sounds. Djo speaks to the despondency of transitory periods in life over the strums of acoustic guitar, breathing a welcomed tenderness into the album.

“Charlie’s Garden” embodies grandiose orchestrations of Electric Light Orchestra with a sprinkle of colorful, Sgt. Pepper-esque playfulness.

Keery’s “Stranger Things” co-star Charlie Heaton features on the track in a brief spoken-word message — a fitting addition to a song inspired by the time the co-stars shared a backyard while filming the Netflix series.

“Gap Tooth Smile” counts on more retro inspiration, nodding to Queen frontman Freddie Mercury in a buoyant tune which embodies a similar rock and roll pulse. 

“That’s my little missus, she’s my number one / My heart in your dreams / Freddie said it right ‘cause she’s my killer queen,” Djo sings.

“Golden Line” is the metaphorical heaven’s gate of “The Crux.” With divine vocalization flying above bittersweet strings, the piano ballad slows the pace, but spikes the sentimentality. 

Transitioning into “Back On You,” listeners continue their ascent with a hymnal chorus intro before the grit of electric guitar shifts listeners back into gear — the introductory heavenly vocals flit beneath the lyrics throughout the rhapsody. 

The album’s titular track, “Crux,” closes out the album with a hammering piano rhythm. Djo’s lyrics speak to the reciprocity of vulnerability required to make connections with others.

“The Crux” shows Djo’s growth into an artist comfortable in his sound and in his skin. Elements of the singer’s musical inspiration set the foundation for honest storytelling — an emerging signature of his musical stylings — and for the welcome of whimsy in his production. 

Listen to “The Crux” on all major streaming platforms.