The Erly is an Americana/Folk-Rock band from Niles, Michigan. I met the members of The Erly
(Collin Mattiford: Bass Guitar, Lead Vocals
Trevor McDonald: Guitar, Lead Vocals
Fran Gleason: Drums, Lead Vocals
Simon Kauffman Hurst: Keyboards)
while performing together at a show in Slatington, Pennsylvania on October 15th, 2024; one of their first stops on tour to promote their album that we will be discussing today, "Salem Lights", released September 4th, 2024. At the time of the show, CD-ROM Rabbit Hole had just launched maybe a week or two prior, and after hanging out, chit-chatting with them, and watching their set, I immediately jumped at the opportunity to inform them of my brand new music review website. They bought some of my merch, I bought two of their vinyl (one to listen and one for them to autograph), and they went on their way to continue the tour. They were the most approachable, welcoming, polite, and kind musicians in the entire world and I'm so excited that the time has finally come to review their album.
Carolina:
The first track on this eleven-song album is "Carolina", which starts with some folky acoustic guitar notes plucking their way into fully strummed chords. The vocals come in, clear as day, a slight twang, and the drums and keyboard pop in with a steady beat and melody. The drums are smooth, the keyboard is a little bit subtle in the mix, but it's not the type of track that needs all the instruments to be assertive, they're all working together to make a song that is easy to listen to and serves it's purpose, especially as a nice introduction to the album. The lyrics, in my opinion, don't seem to hold a lot of concrete substance, and I don't say this with the intention of putting their lyricism down, because there are definitely a few interpretations, but it seems to me that in this song specifically, the lyrics are more of a vehicle for the vocal performance, if that makes any sense whatsoever. I think it is less about the words spoken and more about how they are sung that makes it catchy; it's not trying to be super deep and pretentiously poetic. This song in particular gives the vibe that the members went into it as a jam band first, lyricists second, and that's completely okay, it gets the job done and I have nothing negative to say about it, just merely an observation from my own personal opinion. The song could be about unrequited love, someone who is still not over their ex, etc. Or I could be way off, who's really to say. Sometimes the vagueness of lyrics allows everyone to have their own interpretations that could be wildly different from others, and that's honestly the beauty of it, because, either way, you'll all be singing along, regardless of what you think it's about. Myself as a musician, I am more lyric-centric and music second, but that is also heavily influenced by the fact that I am much better at writing words than I am as an instrumentalist. No judgement whatsoever, to each their own, and more power to them for being able to write such catchy songs PERIOD! The chorus utilizes some layering in the vocals to emphasize the repetition, and we even get a nice guitar solo; nothing too crazy, but a nice division to break up any potential monotony. Before you know it, the song is over and we're already on track number two.
Sally:
The second track takes on much more of an indie-rock/pop-rock vibe, starting with fast-paced notes played higher on the guitar's fret board with some reverb. The bass slides in and introduces the drums. Quickly moving into a funky groove, the keyboard comes in sounding like a lap steel with very airy vocals, this time performed by Trevor, opposed to Collin who covers the majority of the vocals on this album (though, it is pretty fairly broken up between Collin, Trevor, and Fran, allowing the three of them to make their own mark on the album and bring some diversity to the vocal performances). A section of the lyrics that really stood out to me goes,
"Whatever I’m supposed to be will wither
And the bills will pile
The times, they trial
With smiles that come from
Sally"
Partially due to the writing of the lyrics as well as the way they are sung. After possibly coming across as (unintentionally) harsh about their lyricism in the last song, I wanted to make sure I give flowers and credit where it's due when I do appreciate the writing style. These lyrics that I referenced lead directly into the chorus, and if you know the name of the song, it'll be really easy to remember the words! The name "Sally" repeats a few times with some harmonies and a little bit of echo between the voices. I really love every time the keyboard gets a moment to pop more, because Simon is always doing so much on keys, but sometimes it can be reserved for the background, but it's always so nice to get a more direct glimpse at the masterful skill he displays. The final chorus utilizes the same harmonies but also includes an addition of dual vocals, which I am an absolutely sucker for if it's done right. In between the "Sally" vocals, we also get intervening
"She’s not the one to get away
Oh I’ve never been better
Don’t want her love anyway
The weight of it's off my shoulders"
I thoroughly enjoyed this track from start to finish, and there's plenty of very tight jam band antics to appreciate.
OH10:
The third track of the album begins with vocals right off the bat, then quickly accompanied by keyboard. This time around the keyboard is much more standard piano style, with the occasional sustained organ sound. My favorite part of this song, lyrically, goes
"I've been spending time selling watches darlin'
Been killing time and it's been killing me"
Collin really puts a lot of energy into every aspect of his performance and it is especially so much fun to see live, but his ability to project his voice so well and have so many different styles is commendable. This song has quite a few breakdown jam moments, first there is a pretty groovy guitar solo, and as the song builds up to get in gear for the ending, there is a quieter chorus that eventually morphs into a huge an incredibly fun keyboard solo with so much else going on. Simon also does the absolute most on keys, but it's always great when there is a moment for him to really show off. In addition to that section, I really took note of the drums being able to run a little wild, which is also so much fun because up until this point, Fran has been a little bit more relaxed, just keeping everything tight. Absolutely every member of this band brings everything they've got and are so incredibly talented and it's great how they're able to work together and bounce off of each other.
Let It Roll:
This track starts off as a somber acoustic track, the beginning lyrics setting the scene with:
"I've been waiting for the dealer to call me out
I've been looking for the waiter to clear my doubt
But the people that I see
Are the same from you and me
All alone
And what I know has come and gone before"
This is easily the most somber track so far on the album, but it is still catchy and not a super intense tear-jerker by any means. The organ sounds do a great job with adding emotional atmosphere matched with the acoustic guitar, and any time it starts to sound a little bit too sad, we're brought right back to the equilibrium with every "Let it roll" of vocals. Throughout the song, I really enjoy the cleverness and concept of using a lot of gambling references to convey the metaphor and simile, such as:
"So let it roll
Like an ace on high
To clear the losing streak
Let it roll
Like a roulette wheel
Keeping my spirits bleak
I could tell you what got me here
But it'd be a waste of soul
So take my pair of dice
And this empty glass of ice
And let it roll"
and
"I can hear another winner push his luck
I can see a new contender fill his cup"
Within that stanza, I also wanted to give a big applause to the line "so take my pair of dice" because the way it's sung, it sounds like both "pair of dice" as well as "take my paradise". I assume that was intentional and I think it's an absolutely incredible creative decision. The song has a great usage of pauses to hone in on the impactfulness of lyrics that came before or are about to be sung. For a slower sad song, this is one of my favorites so far.
Reading The Call:
This song begins with some studio sounds very briefly; I always love when bands decide to leave in some noise from recording, it's almost as if it's a little behind-the-scenes blooper, and I love the deliberate choice of including these moments and going against the option of making everything so perfectly polished. The song's narrative captures the listener from the opening line, painting a vivid picture of late-night vulnerability and self-reflection. The lyrical imagery, like 'karma is at the door' and 'losing the edge as you're counting back your weeks,' is poetic and raw, resonating with anyone who has grappled with life's uncertainties. The chorus, 'Reading the call, something in the way you bend your words,' is both mysterious and emotionally charged, inviting listeners to interpret its deeper meaning. It's a subtle yet powerful hook that lingers in the mind long after the song ends. Musically, the song's skeleton is built on acoustic guitar, but as the song progresses, all the instruments add on from the foundation, most notably, a very, very wet reverberating electric guitar. Despite the lyrics being easily interpreted as sad, the song's music is very upbeat and catchy. Every time "reading the call" is sung, it makes you want to sway back and forth in a large circle with your arm's on the shoulders of people by your side while spring flowers bloom. Okay, yeah that's a pretty weird analogy, but we're just working off of the vibes right now.
Oh Well:
The sixth track of "Salem Lights" is another song that starts very relaxed and somewhat slow. The story that the song tells centers on waiting, longing, and the eventual realization that things aren’t meant to be- an unspoken breakup story, but with all the weight of a thousand unsaid words. “Clock tower chimes, At a quarter to nine, In the evening” creates an atmosphere of time standing still, suggesting that the speaker is caught in a moment they can't move past. There’s an almost cinematic quality to the description of waiting, which sets up the emotional tension of the song. The second verse deepens the sense of resignation. The line “Half past nine, I know she ain’t coming” feels like the final nail in the coffin. The time here becomes more than just a clock, it represents the passage of hope and the inevitability of things not working out. The speaker moves from waiting to distraction, with a hint of recklessness in the decision to head to the Bel-Air Motel. The idea of “renting it out for an hour or two” isn’t just about finding someone else, but about trying to fill a void, to momentarily forget. Yet, the recurring “Oh well” carries with it the sense that it won’t solve anything, that the pain will still be there in the morning. The chorus echoes a sense of tired acceptance that’s almost bitter. “Oh well” isn’t just a casual throwaway, it's a resigned sigh, as if the narrator is finally letting go of something they once thought was essential. The addition of the lines “I’m heading West, She’s heading South for the winter” paints a picture of separation, both physical and emotional. The Greyhound bus heading to Jacksonville suggests an escape, an attempt to outrun whatever pain lingers from the relationship. But even as the two are going in different directions, the question remains: what did she say to him? The line “She’d rather leave, Than stay and watch me bleed” is a devastating statement, suggesting that she chose to walk away because the emotional toll was too much.
55 On The Other Side:
This track was originally a single off of this album, and is somewhat of a "claim to fame" for The Erly. The guitars are a tad more booming than we've previously seen, with plenty of guitar licks, improv musical stings, and instrumental solos. Usually, I'm a strong believer that a band's most popular song is far from their best (I think I'm, regretfully, a contrarian at heart), but in this instance, I fully understand the appeal and hype for this song in particular. There is so much to latch onto, the chorus is so easy to engage with, especially as an audience member, and overall it makes me feel like I should be listening to it while wearing a flower crown and driving down an old country highway in a Volkswagen bus. Everything about this song suggests that the band is having so much fun playing together, they all get moments to show off and even be somewhat goofy.
The Wreckage:
“Wreckage” by The Erly is a song that digs deep into the complexities of emotional vulnerability, the feeling of being overwhelmed, and the quiet search for connection amidst personal chaos. It’s a track that doesn’t shy away from its raw, unpolished emotions, and in doing so, it creates an honest portrayal of someone navigating their own wreckage, both internal and external. The opening lines immediately set the tone:
“I was caught in the rain storm
Got my blood rushing to my head
The surge is strong and it's pulling me down.”
The rainstorm here isn’t just a metaphor for a bad mood; it’s an active force, something that physically and mentally overwhelms the narrator. The image of blood rushing to their head speaks to a sort of panic or confusion, as if they're trapped in a whirlwind of thought and emotion. The question “Who am I anymore?” lingers in the background, not necessarily as a moment of deep philosophical inquiry, but as a quietly devastating acknowledgment that they’ve lost sight of themselves in the chaos. “Carry me through the wreckage, Whisper me a lifeline” feels less like a pleading for grandiose rescue and more like an understated, almost desperate request for help in navigating the mess that their life has become. The word “wreckage” itself stands out because it’s not simply about being lost or upset, it’s about feeling destroyed, fragmented, and unsure how to rebuild.
Gimme A Sign:
This is one of the songs that I witnessed The Erly perform live at our show together, and when preparing for this review, I listened back and instantly recognized it. “Gimme a Sign” by The Erly is a song that pulsates with energy, offering an emotional snapshot of someone lost in a whirlwind of confusion, self-doubt, and a desperate need for clarity. The song is a mix of disorientation and yearning, wrapped in a sense of chaos that mirrors the narrator's internal struggle. It's a track that feels both personal and universally relatable, capturing the tension between feeling out of control and searching for a moment of understanding or redemption. The opening verse sets up the sense of being trapped in a moment. “Something on the floor tonight, Keeps me in a blinding light” is disorienting, evoking the feeling of being overwhelmed by something both obvious and elusive. It’s unclear whether the light is a literal object or a metaphor for something that’s blinding the narrator's judgment, but the unease it creates is palpable. The second verse amplifies the confusion. “Dancing on a moving beat, Thinking on my two left feet” conveys the feeling of being out of sync with oneself, both physically and mentally. The narrator seems to be in a state of constant motion, but never quite reaching a destination, caught in a state of unknowing. The chorus offers a desperate cry for direction; This is where the track shifts from disorientation to a plea for something, anything, to help guide the narrator through this confusion. Musically, the bass really keeps a bumping beat to tap along to, and I absolutely HAVE the mention the keyboard solo towards the end because it is so intricate and so much fun, I could honestly listen to and entire album of Simon just going completely nuts on the keys.
L.A. Time:
Track ten, "L.A. Time" is a reflection on the disillusionment that comes with chasing success in a city built on illusion. The track is an exploration of the contradictions inherent in the pursuit of fame, wealth, and validation—especially in Los Angeles, a place synonymous with excess, superficiality, and a constant race for self-gratification. The lyrics are laced with dark humor and self-awareness, revealing the emotional toll of trying to keep up with an environment that thrives on smoke and mirrors. The song begins with an immediate, jarring declaration: “So here I am, I wanna be seen, Screaming victory, On a soapbox of contradictory.” The narrator is aware of the absurdity of their situation; They crave attention, yet the attention they get feels hollow, built on contradictions and perhaps even a sense of self-deception. The phrase “soapbox of contradictory” is a potent image, standing on a platform meant for declaration, yet doing so with no real clarity or truth, just empty noise. This tension sets the tone for the rest of the song, where the narrator seems to be grappling with their own role in a larger, morally compromised world. The line “I sold my soul, To the lowlife game show” is particularly interesting because it encapsulates the feeling of compromise that often accompanies the pursuit of fame in an industry like Hollywood. The “game show” here is not just a literal reference to television entertainment, but a broader metaphor for a system built on competition, shallow rewards, and superficial judgments. The narrator is essentially saying that they traded their authenticity for something fleeting, money and fame, only to end up feeling unsatisfied and trapped in mediocrity. As far as lyrical content goes on this album, this one is probably my favorite (followed by "Let It Roll"). I always adore picking apart the superficiality and fakeness of "Hollywood" as both a concept and a real place.
Salem Lights:
We end the album on track eleven, finally reaching the title track. With evocative imagery and poignant lyrics, the song tells the story of someone confronting the end of a significant relationship, one marked by unresolved emotions and a sense of being caught between opposing forces: the past and the present, love and regret, clarity and confusion. The title, “Salem Lights,” immediately evokes a sense of something haunting, mysterious, and almost ethereal, while still being beautiful and bright to some degree, albeit possibly blinding. “Salem” could be a reference to the historic Salem witch trials, invoking themes of judgment, guilt, and persecution. Yet, in the context of the song, it feels more personal, suggesting a place or a moment where emotional darkness and light clash. The opening lines “She came into sight, Twelve years, Since we said our goodbyes” sets the stage for a reunion, a chance meeting after a long separation, where time has only intensified the emotional complexity of their connection. The span of twelve years adds a layer of depth to the experience, indicating that this is not just a simple encounter, but a confrontation with a past that has been left long unresolved. The song’s central theme is about grappling with the emotional aftermath of a love that has either ended or faltered. “Loss of words, Nothing heard, Souls caught, In a sea of hurt” speaks to the emotional paralysis that can occur when two people are forced to face each other, but the communication between them is stunted or broken. The words are absent, and the silence between them is filled with a weight of unresolved hurt. The later lines “Out of time, No way to rewind, Got to walk, With what’s left of my mind” reinforce the song’s theme of inevitability and acceptance. Time has passed, and there’s no way to undo what has been done. The narrator is left with fragments of their mind, trying to move forward, but aware that they are forever shaped by this lost love. I think this is a lovely way to end the album, and a beautiful song to be its namesake. The lyrics on the album really grew and progressed throughout, and now by the end we have a full-blown story with very interpersonal depth and truth. I am a big defender of artists ending and album on an absolutely devastating, heartbreaking, gut-wrenching song, and I think lyrically that may apply, but musically, though melancholy, it's not boring and drab and upsetting to listen to. The band still brings everything to the table, and I think they fully succeeded at capturing an instrumental vibe that fits perfectly with the lyrical content.
I would like to acknowledge that even though there are multiple members who each have different songs they sing and wrote, there is a very strong sense of cohesiveness that is impressive. The writing style is definitely individual, and the vocals are clearly different voices, but none of the changes between writers or singers came across as jarring or as if it didn't fit. This is a very strong album where all the songs sound like they belong together and make sense together, it's not just a random collection of miscellaneous tracks, which has become far too common in the last decade or so. I feel as though the art of constructing an album (and especially it's tracklist) has died and not as many people put as much thought or stakes into that aspect of the release, but it is something that I pay very close attention to, both as a listener and as a musician, myself. For months I have been looking forward to listening on repeat and reviewing this album, I sincerely hope I will someday be able to do an interview with these guys, and I really hope their kindness, creativity, and talent continues to take them very, very far. I will always be rooting for their success and am grateful they gave me the opportunity to try and help spread their music to a wider audience.
I am BEGGING YOU to go listen to The Erly. You can find all their links HERE!
