John Splithoff Bares His Soul In “Far From Here”
John Splithoff, the singer-songwriter and multi-instrumentalist recently released his highly anticipated album Far From Here via Virgin Records. In the album, Splithoff bares his soul, offering a window to the myriad emotional crests and troughs in the recent past.
Review of Far From Here
In Far From Here, John Splithoff blends genres such as classic soul, pop, jazz, and R&B, demonstrating his impressive instrumentation range and vocal skills. Consisting of twelve tracks, Splithoff’s Far From Here hooks you from the outset.
The opening piece, “Far from here” is an earnest exploration of homesickness and disillusionment caused by a place that once felt like a “dream.” Here, Splithoff maintains a combination of falsetto and prominent vocals creating a smooth texture. The song introduces Splithoff’s choral voice that serves as a background in different tracks throughout the album.
“Way back” begins with a lo-fi buildup, eventually leading up to catchy synth beats. The song is yet another ode to a place or a person that was once “home,” underscoring poignancy felt due to distance — both spatial and emotional.
“Tangled” similarly uses a combination of falsetto and prominent vocals. It is a playful track where the singer doesn’t mind being “tangled” in their lover’s shenanigans. “Magenta (Days go by)” is a funky and unconventional track about a trip down memory lane. “Glacier” is a pensive track set against the “natural beauty of Montana”. The lyricism highlights inner tumult, also underlining that, in the midst of tranquility, yearning feels intense and vulnerable. Espousing a widely shared sentiment of what could’ve been, “Now the less we speak/The more I’m hoping to know,” the singer persists.
In “City Days” John Splithoff pays tribute to the chaotic wonderland that is the Big Apple. The song celebrates Splithoff’s relationship with the city at “various stages in his life”. The legendary trumpeter Chris Botti adds gravitas to the song and lays the groundwork for a touching climax (that also includes a clever scaffolding joke). Literary aficionados will notice poetic undertones in “City Days” similar to “Mannahatta” and “Crossing Brooklyn Ferry” by Walt Whitman.
John Splithoff Fetes Nostalgia
The song “Oh Betty” anthropomorphizes Splithoff’s beloved Buick from college days, utilizing it as a literal vehicle to channel nostalgia. Carrying an impassioned pitch, the song’s instrumentation achieves the intended effect of transporting the listener to better and simpler times.
For “Same Page” Splithoff incorporates soft, serene beats. The bass here is warm, non-intrusive and pleasant on the ear. The song fetes Splithoff’s to trip to Arizona that “inspired his move to the West”. Juxtaposing it with the busyness of metropolis, the song romanticizes the Grand Canyon State calling the placidity: “A slower type of pace where we don’t keep time”. Splithoff sings “Plateau” in a higher key. It is an upbeat, hopeful song about change where the singer wishes to “Get a taste of a different life” while noting how he would remain the same.
“Dancing on the Cliffs” is a pianistic piece with choral voices adding rich texture. The song acts as a brief interlude allowing breathing space for Splithoff while helping the listener regroup their thoughts. “Kyoto Snow” describes the time Splithoff “experienced snowfall in a temple in Japan”. The lyricism expresses a reverential awe for nature and the fleeting moment in time. Lyrically, it is again very Whitmanesque in composition. If “Glacier” felt somber, “Kyoto Snow” feels more optimistic and guileless.
Finally, “Marooned (feat. Maya Delilah)” is soulful and rhythmic track. The lyrics are effective and the line “I’ll be marooned and I’m better for it/On an island in my head” stands out. Emotional vulnerability, desire for longing and connection that embody the album are capably articulated in this track.
Overall, John Splithoff’s latest album is a profound, heartfelt work that deserves widespread acclaim and applause.
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