Buffalo based singer-songwriter Ian McCuen has returned with their latest release, the utterly emphatic and scathingly topical As the Oceans Rise and the Empire Falls.
Buffalo-based Ian McCuen has been wowing listeners since 2017 with the release of their debut album Songs of Fleeting Permanence, Vol. I, the next two installations following in 2019.
A master of the soundscape, McCuen is no stranger to telling tales with their musical skill- which is a strength that lends itself perfectly to their latest release, the 22-track album As the Oceans Rise and the Empires Fall.
Utterly cinematic, As the Oceans Rise and the Empires Fall pulls listeners through each and every notion of emotion with an admirable span of instrumentation, tracks full of lyricism and others left purely instrumental- all-encompassing in an admirable and awe-inspiring critique on the state of the United States and its politics today.
“A Fairy Tale for the Obedient” makes deft use of the Omnichord, drawing upon sounds of whimsy and childhood nostalgia alongside haunting horns which carry directly into the simmering brush percussions and foreboding baselines of the instrumental “Indoctrinated, Propagandized.”
The omnichord returns in “I Don’t Know What Will Kill Us First,” this time taking on an undertone of grimness as McCuen ponders which environmental disaster will be the one to finally do us all in over the sounds of acoustic guitar and later horns, which have evolved into a sound almost funerary in sentiment.
“The Intermission” and “The Underture,” unsurprisingly enough mark the midpoint of the album, at which point McCuen takes the time to remind you that as much as their lyrical pieces stun, soundscapes are well within their wheelhouse too.
“Fear & Loathing (in the Home of the Brave),” while certainly not subtle in its messaging, makes a staunch statement regardless. McCuen pulls no punches in critiquing the hypocrisy found in defending the status quo blindly and existing in fear of anything new without interrogating the reason as to why either of those reactions were elicited- as they conclude, “in the home of the brave, it’s all we’ve got.”
They lean fully into the ominous for “A Ghost Story for the Sheltered,” telling a horrifying story of some untold monster that’s sweeping through your town, hunting you down- a haunting parallel to the paranoia kicked up and experienced by the “Sheltered” of America and a striking narrative on fear-mongering and its consequences.
“Death Is a Business and Sales Are Up” is not only incredibly topical but stunningly produced- headphones are highly recommended for this track, as the panning utilized creates an all-encompassing listening experience that’s practically impossible to pause.
The final lyrical track “A Swan Song for Quittin’ Time” feels like a conclusion in every sense of the word. Featuring a line that became the album’s title, this track feels simultaneously hopeful and hopeless, as McCuen struggles to come to terms with the state of the world- even for those with so much fight in them, there comes a point where the draw of nihilistic acceptance is unavoidable.
The song concludes in an anthemic culmination of all of the album’s instrumentation as McCuen accepts the state of the world as one full of strife and struggle, yet finding a determination to go on in the hope for a better future, they sing “just in case, stick around for the encore.”
There’s a certain cognitive dissonance to Ian’s work- if you let yourself be distracted by their calming vocals or gentle instrumentation, you may just miss their scathing critiques on today’s society. Haunting, scathing, and effortlessly engaging, As the Oceans Rise and the Empire Falls captures the full range of emotions felt within and in critique of the United States today.
To learn about Ian McCuen’s past work, more about As the Oceans Rise and the Empire Falls, and all of their future endeavors, be sure to keep up with them on their official Instagram page here.
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