If you were a fan of White Buffalo, you would likely enjoy Ian Munsick’s new album. The new record leans even further into the Western imagery we’ve come to expect from the Wyoming native, while maintaining the genre-blending production of his past work, sounding like pop-country with a revolver in its holster.Each element of the music places listeners in another world, carried on a wild wind. Eagle Feather is packed with twenty new tracks, including features from Lainey Wilson and Cleto Cordero.
Right off the bat, Ian meets listeners with a harmony-filled a-cappella intro piece, the first of three supporting tracks: “Prairie Lament i,” “ii,” and “iii.” Each acts like an interlude, splitting the album into separate movements. This first piece sets the scene for the rest of the album, playing out as an anthem, crying, “Lord, let Wyoming be where they bury me.” While at the beginning, it seems like you’re being conditioned for a well-structured story album, there is no overarching trope. Most of these songs are just variations of two central themes: love and heartbreak. While much of the lyrical substance revolves around the same core themes, it introduces new metaphors, analogies, and fresh imagery as it progresses. You’ve probably heard the typical “I can’t leave the country to be with you” song a hundred times, but in “Too Many Trees,” Munsick flips the script. Instead of the usual city-versus-country dilemma, he doesn’t enjoy his partner’s hometown’s tree-trapped terrain.
Of all of the relationship-focused songs on this album, one of the strongest is “God Bless The West,” which features Cleto Cordero of Flatland Cavalry fame. The instrumentation of this track perfectly suits the imagery of the western plains, with breezy nylon guitar and tastefully long-lasting cymbal hits. Descriptions like “blue sky smile” and “peace like mountain streams” make reading the lyrics worth it, and that level of intentionality is consistent throughout the entire record. That said, not every song on the album keeps such a serious tone. In tracks like “Drink Around”, there’s an upbeat, twangy dive bar drunk energy, making the tracklist more diverse. However, if you’re unprepared for it, these barn-stomping party songs can come out of left field, especially with Ian’s high, sometimes shrill voice.
Breaking out of the barriers of cowboy love songs, ‘Wolf Creek Road’ is one of the most meaningful pieces on Eagle Feather. The story follows a young Ian, fresh from a truck accident, who learns a valuable lesson from his father rather than facing strict discipline. This track is the “Three Wooden Crosses” of the project and has the potential to become one of Munsick’s most memorable hits. Strong, visual terms like ‘switchbacks’ are rare in country music, yet they’re a key part of what makes this album so special.
Across the board, Eagle Feather is mixed with a careful ear, often using snare brushes, rolling tom rhythms, and lots of reverb in moments meant to feel wide open. You might also find a honkytonk guitar riff or a clap section in the high-pace, energetic sections. From start to finish, pairing stories and sounds is a constant strength throughout the album. This project is a good mix of pop and country, appealing to mainstream audiences without sounding too robotic. In addition, Munsick’s voice is well-mixed, with his vocals smoothly filling a space in the mix of each track. As his voice can be somewhat abrasive, it was a strategic move to start the album with a raw, unaccompanied intro that showcases his voice, introducing it in a favorable light.
After a complete listen, you may find that Eagle Feather scratched an itch for vivid illustrations and modern sounds. This record will be frequently revisited by many, creating a new standard for Ian’s work. If this is your introduction to Munsick, and you liked what you heard, don’t be afraid to dig into his earlier work. Longtime fans will likely be pleased by what they find in Eagle Feather, as it offers new material with elements of his past projects without feeling like a collection of recycled ideas. If you are hesitant to listen to this album, know that this is one of Ian Munsick’s best works, and you may pass up a chance to enter a world you never knew existed.
8.9
