There is a distinct art to making a record feel both deeply vulnerable and effortlessly breezy, and Ryan Rickenbach manages to strike that exact balance on his latest project, Sirens.
The album kicks off with “Bad Man,” where Rickenbach deploys a relaxed, Jack Johnson-esque charm. The highlight here is the chorus, which cleverly elevates a simple two-word phrase through a playful lexical loop, creating an infectious, rhythmic melodic hook that stays in your head. From there, “Cocaine Blues” takes us on a proper blues trip. Guitar driven and with a fast tempo, it captures a classic 12-bar blues vibe without sticking strictly to the rulebook but still leaning heavily on the foundational I, IV, and V chord progressions.
The energy peaks on the lead single, “Hallelujah Here we Go.” The track is defined by a driving bassline, a high-energy groove, and an incredibly expressive vocal performance, a raw, emotive delivery that remains a constant thread across the entire album. Its hook functions as an emotional pivot, balancing a peaceful resignation to the present moment with a sarcastic nod toward an oncoming storm: “Let it be, take it slow, Hallelujah here we go!”
We then dive deeper into the complexities of heartbreak and isolation. In the “Morphine Heart,” Rickenbach tunnels directly into the pain of falling for someone toxic, tracking the slow-motion breakdown of a relationship. He maintains that acoustic vulnerability on “Found Familiar,” channelling a profound, agonizing loneliness and a desperate search for a soulmate who only exists in concept. “For You” pulls things back even further, stripping the instrumentation down to pure acoustic guitar layers to deliver a universal truth: no matter how far we travel or how much great camaraderie we find, nothing replaces a singular, true love.
When the full band returns on “Come Thru,” it injects a much-needed surge of energy to contrast with the story. The song traps you right in the middle of a park, getting high to cope with the anxious, heartbreaking realization of being ghosted by someone who treats relationships like a game. Let’s be honest, we’ve all been there.
For us the next one is the standout of the album. “Porcelain” delivers a warm, inviting chord progression infused with a heavy dose of melancholia that encapsulates loneliness perfectly. It went straight to our liked playlist without a second thought. That showcase of quality songwriting continues on “In Two,” which balances the raw, vulnerable qualities of early Chris Martin with the lyricality of late Gaz Coombes, perfectly soundtracking the painful but liberating aftermath of a breakup.
As the record nears its end, “Fruit Tree” delivers some beautifully crafted backing vocals and soft guitar lines, which soften the blow of a narrative about a bitter, rotting relationship drained by guilt and repeated mistakes. The mood quickly shifts on “Lover Lay,” returning to that sun-drenched, beachside campfire vibe felt earlier in the record. The smooth, toes-in-the-sand groove perfectly matches the story of a smooth-talking narrator trying to reassure a new lover after a wild night out.
Finally, the album leaves us with “Down in the Country,” weaving in genuine folk elements to celebrate a peaceful, enduring love that stands still against the passage of time. To fully appreciate this last piece, close your eyes and place yourself in a quiet country setting. It’s a beautiful end to a grounded, deeply human record.
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