Sometimes, the best art is the hardest to define. It’s difficult to find the right words that perfectly describe the full scope and sound of “80 ACRES,” the new project and alias that Dylan Marlowe has revealed. However, a few of the terms that still totally align are “fresh,” “angsty,” and “pure.” Somewhere between grunge, punk-pop, dad-rock, and country sits the new music lane that Marlowe has begun carving out, providing 2000’s nostalgia, as well as a full commitment to unique experimentation that even longtime fans could likely never predict from the ”Boys Back Home” singer.
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If you grew up with or ever had an appreciation for the musical era that brought bands like Creed, Limp Bizkit, blink-182, and All Time Low, you’ll probably find an easy appeal in the 80 ACRES EP. After years and years of a less prominent spotlight on the grungier side of popular music, a tasteful callback hits the spot, and that’s exactly what this is. Pressing play on the project, you get a fresh experience of Dylan fully committing to a heavier, rock-driven sound, and each song feels different enough from the last to make the listener trust the new direction. No part of 80 ACRES feels like a gimmick; where his past releases may have often contained spins on far-too-common country music terminology (i.e., “Bat out of Hell with a boat on the back,” “dirt road beers,” “Dirt road when I die,” etc.), Dylan lets heavy emotions take charge here. “This shift, stripping back the cleverness in favor of simpler messaging, has a noticeable positive impact on the listening experience.
After listening to these songs all the way through, some of the major, obvious takeaways come from the big dynamic shifts, like in “Roses” when the band comes in with so much distortion and heavy energy. However, listening closely, you’ll find that the yearning, painstaking melody plays an equal hand in the solidity of the track. Looking back in Marlowe’s history, he’s always been a master at crafting melodies, with the chorus “Record High” as a prime example. When Marlowe sings of being “too late” in the second verse of “Roses,” the line is carried by an intricately articulated descending melody that instantly gets stuck in your head. That vocal turn is matched by a slightly whining tone that fits the project’s overall attitude. That same ‘tude is found all over the EP, especially in the song that features Treaty Oak Revival.
These days, it’s a rarity for any artist to get Treaty Oak Revival to feature on their song, so when Dylan Marlowe breaks through that wall of exclusivity, it means he has something seriously special to offer. Out of the entire tracklist, “Mess We Made” was the perfect song for the band to join in on. This momentum feels natural for everyone involved, and between Treaty Oak’s rawer rock production and Dylan’s more polished approach, they land on a fitting middle ground. Where “Wait at the Gate” has a heavy feel, this track feels brighter, closer to the pop-punky blink-182 side of things than to the more deep and saturated Creed-like sound.
In a since-deleted post from 80 ACRES’ socials, Dylan stated how “Is You” was written as an attempt to write an endearing love song for his wife. As a new father to twins, it’s great to hear the sentimental side of his personality come through in his songs. As a closer for this EP, the mellow vibe sets a good atmosphere for the most direct, intimate lyrics found within. With all five offering Marlowe’s newly discovered style through different lenses, “Least You Could Let Me Do” seems to encapsulate the project’s spirit best. With an engaging build of dynamics throughout the track, you see high highs and low lows, as well as a full dive into the heaviest distorted rock sound that Marlowe visits in this EP. In the second verse, you can feel the tension break almost like the band is right in front of you as you take it all in.
Throughout 80 ACRES, themes of thoughtful companionship, slow-burning heartbreak, and true love remain consistently engaging, with each idea flowing naturally as the lyrics and dynamics come to life without a single dull moment. As the final song begins to fade out, you begin to wonder if you haven’t seen the last of this incredible sound that Dylan Marlowe has stepped into.
In a new role, he seems to have filled out more of the open space where so many listeners have craved high-quality attempts at country rock. Bridging country fans and more punk-influenced listeners, 80 ACRES is a strong entry in the current wave of country rock, which already includes artists like HARDY, Treaty Oak Revival, and Koe Wetzel. What sets it apart is not reinvention of the lane, but how confidently it executes within it, without a focus on blending in country-isms. The only real drawback is the project’s short length, as five songs leave the listener wanting more, given how consistent the quality is throughout. Now, only one question arises: “What’s next for 80 ACRES?”
