Pete Sinjin's folk-drenched light rock album is pleasant and genuine.
On June 24, Pete Sinjin released his fourth album, entitled The Heart and the Compass. This Pennsylvania-raised artist had a keen interest in music from a young age – ranging from punk to classic rock. However, his personal style on The Heart and the Compass resides someplace closer to a light folk-rock combination.
“That’s My Heart” opens The Heart and the Compass with a clear folk sensibility. This is music listeners will sway to. It sets the tone in regards to instrumentation throughout the record as well – emphasizing percussion and strings without distracting from vocals. “That’s My Heart” is fun background music and a gentle opening to the album. It does not however, truly grab audience attention.
A real highlight on this album is the second track, “Radio Tears.” It is accessible enough for easy listening, while maintaining an interesting arrangement. Sinjin incorporates backup vocals from Michaela Anne beautifully here. Seemingly not made for daytime listening, “Radio Tears” rings of drinking after-hours. This tune feels genuine and intentionally lacking in pageantry.
Genuine tales from Pete Sinjin
As The Heart and the Compass continues, Pete Sinjin maintains a folk-infused rock aesthetic. On the whole, this is a strong record. However, there are both clear high points and less effective moments scattered throughout.
An example of the latter is “Stolen Afternoon, 1951.” A sparse track, it feels as though it ought to tug on heart stings. Unfortunately, it is missing a spark that would draw listeners into the story. Immediately afterwards though, “Breathing the Same Air” presents an upswing in tempo and flair. With a slight southern rock attitude, this tune is radio-ready with a solid hook.
“Goodbye Knoxville” and “This Bed’s Gonna Break Your Fall” have nice grooves them, keeps the momentum up. With fun arrangements and dynamic rhythms, they both contain clear stories consistent with a folk rock spirit.
A slight disappointment on The Heart and the Compass is “Can’t Be So.” This slow jam dances around the edge of blues. It would have been interesting to see what happened if Sinjin had embraced that inclination rather than holding back on it. The tune stands on its own, but lacks the punch a true-blues edge may have provided. “The Night I Saw God” then closes out the record in a catchy and strong manner. With an engaging combination of dynamics, this is a clear standout on the album.
The Heart and the Compass feels sincere and seems to tell genuine stories. Though some of the songs therein lack in spark or impact, none fall completely flat. Among the eleven tracks, there are even some true gems. Happily, this is certainly not going to be the last audiences hear of Pete Sinjin.