The Crux is the third studio album from Djo, the musical identity of actor Joe Keery, who you might know from Netflix’s Stranger Things. That identity was a relatively well-kept secret up until “End of Beginning,” a track off of his second album, went viral on TikTok.
Prior to that moment, Djo mostly used music as something to work on in between filming that worked the creative muscle in his brain, pulling inspiration from artists like Tame Impala and The Cars. On The Crux, Djo lets the disguises fall away, opting to perform and speak as his most authentic self.
Described in an interview with NME as a “musical diary,” it’s no surprise that his third album should feature the same self-reflection and honesty that reeled listeners in to 2019’s Twenty Twenty and 2022’s DECIDE. Rather than recording tracks at home and being limited to what he had access to on his laptop, however, The Crux was recorded at New York’s Electric Lady Studios, the host to iconic sessions from artists like David Bowie, Jimi Hendrix, and The Rolling Stones.
It’s access to these resources and musical freedom that allowed Djo to find his footing on this album. Where his previous albums are defined by their immense production and heavy synths, The Crux lets all of his disguises fall away, leaving behind nothing but the true meanings of his words, which reverberate into the listener with clear understanding. Below is my immediate ranking of each track on the album after my first listen.
12
Link
Track 3 – 3:15
Let it be known that there are no bad tracks on this album. However, something had to come last. “Link” is an enigma on this album with its rhythmic electric guitar and striking ’80s energy. Djo stutters through each pre-chorus, almost hesitating to say the next words while also placing more emphasis on them.
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His vocals are grittier than listeners might be used to, just one example of how much more comfortable he’s gotten with placing his voice front and center. Unfortunately, the rest of the tracks stood out much more to me after my first listen.
11
Delete Ya
Track 5 – 3:23
As one of three pre-release singles, “Delete Ya” still stands as a great foundation for the album to stand on. He takes the simple, modern idea of deleting something from our devices and spins it as a metaphor for removing the memories of someone or somewhere from our minds.
He takes the simple, modern idea of deleting something from our devices and spins it as a metaphor.
Sadly, it’s not as easy to remove a person from our memory as it is to delete one single image from our camera roll, even though Djo makes it sound pretty simple here. Again, still a great song, but I already had it on repeat for weeks.
10
Basic Being Basic
Track 2 – 2:38
This is the first pre-release single from The Crux, and Djo’s first release since the virality of “End of Beginning.” It cuts straight to the point, providing commentary on the fear of becoming known as a one-hit wonder at a time when one post on TikTok can be the difference between a song’s success or supposed failure.
Djo doesn’t want his music to be loved for superficial reasons, and doesn’t want to go out of style based on an algorithm. It’s an extremely important song to add to his discography, and one that I’ll keep coming back to.
9
Gap Tooth Smile
Track 9 – 2:58
In “Gap Tooth Smile,” Djo leans into a head-banging instrumental and a Bowie-esque vocal delivery to get across the love he feels for the girl with the titular gap-toothed smile, referencing Freddie Mercury along the way in the choruses. He is (or was) in love, and he can’t help but share just how beautiful she is to him with her unique smile and the happiness she brings him. It’s a sickeningly sweet track that is yet another welcome departure from what fans are used to in his instrumentals and production.
8
Fly
Track 7 – 5:25
On an album filled with ancient guitar sounds and delightfully unpredictable production, “Fly” leans into both of those aspects completely. It starts with a haunting introduction where Djo states that he wishes for the bloom of spring.
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He’s tired of running through the snow and shivering through the cold of winter to get to the rays of sunshine that he knows await him on the other side. It then transitions into a swooning lament on a life full of constant movement and change, something that most people on this planet will know a little bit about.
7
Golden Line
Track 10 – 3:22
Much like The Beach Boys or “How Can You Mend a Broken Heart” by Bee Gees, Djo starts “Golden Line” with sweeping harmonies accompanied by a style of piano playing that can only be compared to that of classic 70s ballads. This could’ve been pulled from the 1970s’ extensive catalog of love songs from the likes of Bread and Billy Joel.
“Golden Line” with sweeping harmonies accompanied by a style of piano playing that can only be compared to that of classic 70s ballads.
It’s dreamy, swoon-worthy, and romantic enough to make anyone long for a love like this. The production isn’t as complicated as the rest of the tracks on this list, but it’s a solid track nonetheless.
6
Potion
Track 4 – 2:47
Yet another love song, this time in the style of HAIM’s “Leaning On You” with a vocal delivery that sounds similar to George Harrison on Brainwashed. In contrast to “Golden Line” and its reliance on the piano, “Potion” relies on a simple acoustic guitar, a slide guitar, and an orchestral instrumental that builds towards the end until it crashes over you with its beauty. If there’s anything this and the rest of these tracks prove, it’s that Djo knows how to build a song to either an absurdly great bridge or a stunning outro.
5
Crux
Track 12 – 3:43
On the album’s closing track, Djo tackles its title head-on. A crux is the most important issue at hand, or one’s most important decision. On The Crux, it’s clear that Djo is grappling with the idea of aging after turning 30 while creating this album, as well as the importance of remaining true to yourself.
Get back to your heart
Only if you give it back again
Get back to your heart
Will you give it back? (You give it back)
He repeats the idea of getting “back to your heart,” which I assume means returning to what brings you joy, who makes you feel loved, and what you’re passionate about, something everyone needs to hear at some point in their lives. It’s a perfect closer.
4
Egg
Track 6 – 4:35
If there was ever a song that makes you feel like you’re following the artist down an endless hallway where they keep pulling you in the opposite direction to where you think you’re going, “Egg” is just that. It’s a sonic, introspective journey, and I believe the egg is a metaphor for hiding away from the world in a fragile shell of your own making, something that I can only imagine Djo has some experience with. His vocal delivery reminds me of Bowie yet again, and I can’t think of another modern song that sounds quite like this.
3
Lonesome Is A State of Mind
Track 1 – 4:19
It’s impressive for an album’s opening track to stick with me long after listening to every track that follows. “Lonesome Is A State of Mind,” to me, is about finding comfort in being alone with yourself and your mind in such a loud, overwhelming world. It’s a slow start to the album that picks up more and more as it goes on, with that second chorus drop and its chanting harmonies being my favorite part. If lonesome is a state of mind, then you can turn it off freely and be content with being alone, something we should all learn.
Lonesome is a state of mind
Yeah, the future’s over
Don’t drag me anymore
I’m done
Two for life
Thought that you were on my side
Lonesome is a state of mind
No, you’re not lonely when you’re hanging with yourself
2
Charlie’s Garden
Track 8 – 3:25
If you’re one of the people who didn’t immediately compare that opening piano and Djo’s vocals to a classic Paul McCartney creation like “Martha My Dear” or any joyous track by The Beatles, I’m happy that this song is your gateway into their music. That being said, I usually take musical comparisons as compliments, but I don’t want them to overshadow the original brilliance of Djo on this song.
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“Charlie’s Garden” refers to Djo’s friend and Stranger Things co-star Charlie Heaton, who makes a couple cameos in the form of voicemails in each half of the track. Djo makes Heaton’s garden out to be a sanctuary, somewhere he can find solace and put his responsibilities off for just one more day. It’s a shimmering reflection on friendship and the importance of letting yourself relax somewhere safe with the people you love.
1
Back On You
Track 11 – 5:23
As an older sister, I couldn’t help but connect to this track. In a similar way to “Charlie’s Garden,” Djo uses “Back On You” to describe the solace his finds in the presence of his sisters and his best friend. What sounds like angels singing in the opening are actually two of his sisters, Emma and Kate Keery.
After they sing to him about hanging on and remembering who he is, Djo starts the song by saying “I’ve known my sisters for a lifetime,” going on to thank his lucky stars that he has them to lean on each day. Accompanied by a nasty bassline and overall incredible instrumental, he goes on to pay homage to his best friend in a similar fashion, singing “I used to say I didn’t have a brother, well, I guess I can’t say it anymore.”
Coming just before the album’s closing track, “Back On You” is the kind of song that makes anyone appreciate the people around them. Give your sister a hug, tell your best friend you love them, and call your parents. Maybe send them this song and recommend them some new music. This is what life is all about, and Djo absolutely highlights that here.
