A soulful sad song can add depth and character to an album in need of a creative edge. It takes the listener on a journey through heartbreak and misery in hopes of shining light on a particular feeling or circumstance in life. Having one or two tracks like this not only helps an artist express deep feelings through the song but also helps break up an album to balance things out between the barn burners and mid-tempo radio hits.
But if you’re Kameron Marlowe, something could also possess you to make an entire 10-track album of nothing but sad songs. His third full-length project, titled Sad Songs for the Soul, dips into a depressing, sad-boi-esque aesthetic that Marlowe hasn’t explored in-depth on his previous albums. However, between the artist’s powerful vocal delivery and production style, as shown in his last two albums, you can see how this album might make sense for the “Quit You” singer.
And it does. All of these songs sound like Kameron Marlowe songs, and it’s easy to envision them on a traditional 15-20-track album. But together, like this, it’s a bit much.
Sad Songs for the Soul explores the drama of sad songs more than anything else. Between steady cellos, deep electric guitar riffs, booming drums, and gentle acoustics, the entire album plays like someone who has no more hope in this world and can only express their angst through song. Conceptually, sad albums are by no means new, but for the world of country music, they’re something of a rarity.
Marlowe pulls off a decent take on a sad album, and it’s a unique spin on his personality and artistry. “Hello Whiskey” stands out not because it’s the single greatest song written about whiskey (read: it is not) but because of the theatrical production and agonizing plea to rid oneself of heartbreak-induced pain.
Harping, dramatic takes on sadness are orchestrated throughout this LP. “Here Lies the Fool” leaves you feeling guilty during conflict and there’s no hope left for redemption; “Friend of Mine” has a plethora of sour contentment for always feeling like a piece of dirt. And what is the most dramatic song on the entire album? “The Basement,” which tries to convince you it gets worse even if you’ve hit rock bottom. If you weren’t sad enough by the time this song comes on, get ready.
Marlowe’s cover of “Burning House,” which opens the album, is a weak point. While his vocals remain solid, they don’t match the power or drive of the original Cam version. “Hungover You” and “Highway Song” are forgettable and don’t leave enough room for content to latch onto.
Fortunately, there are some solid moments on the project. “How’s the Leaving Going?” is one of its stronger tracks, with relatable lyrics, a haunting acoustic guitar, and a strong vocal performance. “If You Stay” stands out as well, unraveling a tale about latching onto hope and begging for your one true love to give you another chance. As the closer on the album, it plays well since it gives you some positive feelings that things could be okay.
But for the rest of Sad Songs for the Soul, this is an album to bawl your eyes out to, yet you can never convince yourself to shed that first tear. Play the album from front to back; you’ll need a mood booster afterward. However, your eyes will likely still be dry since Marlowe & Co.’s attempt at a depressing album is too evident and in your face to slip into your subconscious and pluck at your heartstrings. While the lyrics play well with the subdued, ghostly instrumentals, the obvious slap-in-your-face that you should be sad listening to this album removes you from the experience, not to mention that this album is literally called Sad Songs for the Soul.
Marlowe took a chance with this project and challenged himself artistically, and it certainly didn’t come out horribly; it’s an album with decent songs and interesting production from one of today’s most promising commercial country artists. But altogether, Sad Songs for the Soul overindulges on the tears and heartbreak to play authentically to those emotions. While the production and vocal performances remain as strong as other Marlowe albums and singles, the resulting LP is one that you might listen to once but realize it’s unnecessarily sad to spin again.
