A Look Into Utica-based J. Schnitt’s New Album and the Wonders of Society

Folk singer-songwriter J. Schnitt’s new album, To Obscurity and Beyond, Vol. 1 (protest songs, social commentary, and songs for change), brings question-evoking commentary on modern society, challenging and bending the traditional norms of lyricism and artistry. With over 20 albums to date and more to come, the Utica-based singer’s years of songwriting and performing has transcended across multiple genres and topics.

A photo of folk singer-songwriter J. Schnitt playing the guitar. Photo courtesy of J. Schnitt.
Photo courtesy of J. Schnitt

It seems that an increasing number of singer-songwriters have emerged in recent years. However, in an interview, J. Schnitt argues that they have “always been around.” In contrast to singers having multiple writers on an album or single, the singer-songwriter prefers writing his music solo, saying that songwriting, for him, is “generally a singular experience,” noting that he likes writing solo. During his time in bands like BikeLane and The Reuben, he recalls being the primary songwriter and bouncing off ideas with his bandmates. 

To Obscurity and Beyond, Vol. 1 (protest songs, social commentary, and songs for change), the singer says, is “a little bit different of an album” than his past works. “This one [album] is just me and a guitar, and occasional harmonica,” he says, with the hopes of “trying to capture that [stripped] essence.” The album, he says, is part of a number of other future projects, full of unreleased songs on societal commentary.

Album cover for J. Schnitt's new album, To Obscurity and Beyond, Vol. 1 (protest songs, social commentary, and songs for change). Photo courtesy of J. Schnitt.
Album cover for J. Schnitt’s new album, To Obscurity and Beyond, Vol. 1 (protest songs, social commentary, and songs for change). Photo courtesy of J. Schnitt.

This new album comes with “Conspiracy Theory Blues,” a commentary on modern media through blues, a genre born in the south. “It seems very of the moment,” J. Schnitt recalls, noting some lyrics referencing controversial books and political theories. The clash between the southern blues style and the lyrics’ right-leaning ideologies create a contrasting yet unique sound and approach. Though the sound was not intentional, it conveys a larger image of the similarities between the emergence of the genre and topic, both noting of distrust and an imbalance of power. 

Songs like “Continental Divide,” a slow acoustic lullaby on confronting our society, gives a view into the soul of J. Schnitt and his questions for the world. Following the confrontational opening song “Patriot,” the lullaby stands as a call-to-action piece. Questions like “how far is too far?” or “what’s our moral responsibility?” and wondering if it’s “too late” for change are all questions to be considered. Good music makes people think, and “Continental Divide” allows for new conversation. That is “the hope,” J. Schnitt says – that people will take a step back and reflect on our society.  

As a musician, there are always “higher aspirations,” J. Schnitt says. Even if he tries to step away from music, he says it will always come back to him with a new idea or follow him around. Though it has “always been a goal” to become a full-time musician, the job comes with tough love: varying crowds, mental strain, confidence blows, and more. But creating music is worth it. Music “helps us make sense of the world,” he says. “This is my best way to communicate with the world.” 

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