GUSTER
Not long before the making of their new album Ooh La La, Guster celebrated three decades together as a band—a journey that’s included landing a series of hits on the Billboard charts, working with luminaries like Steve Lillywhite and Richard Swift, launching their own music festival, and amassing an ardent fanbase partly on the strength of their relentless touring and deeply communal live show. But despite reaching a milestone few musical acts ever come close to attaining, Guster’s ninth studio LP reveals a band fully in touch with the voracious creative energy that first inspired their formation. A major leap forward for lead vocalist Ryan Miller, guitarist Adam Gardner, drummer Brian Rosenworcel, and multi-instrumentalist Luke Reynolds, Ooh La La ultimately matches that wide-eyed spirit with a newly heightened sense of confidence, conviction, and commitment to the raw sincerity that’s made them so beloved.

“In all the time we’ve been together, we’ve never really felt our age as a band—we’re still so hungry, still excited to create,” says Gardner. “A lot of people have told us they’re amazed at how democratic our process is, but I think that’s a big part of why we’re still able to open up this space where the ideas just flow. It also helps that we’ve built a relationship with our fans where there’s a real sense of trust and a desire for us to keep growing and keep pushing ourselves. It’s such a gift that allows us to be truly free, and to make whatever music we want to make.”

The Mountain Goats
Jenny from Thebes began its life as many albums by the Mountain Goats do, with John Darnielle playing the piano until a lyric emerged. That lyric, “Jenny was a warrior / Jenny was a thief / Jenny hit the corner clinic begging for relief,” became “Jenny III,” a song that laid down a challenge he’d never taken up before: writing a sequel to one of his most beloved albums. The Mountain Goats catalog is thick with recurring characters—Jenny, who originally appears in the All Hail West Texas track bearing her name, as well as in “Straight Six” from Jam Eater Blues and Transcendental Youth side two jam “Night Light,” is one of these, someone who enters a song unexpectedly, pricking up the ears of fans who are keen on continuing the various narrative threads running through the Mountain Goats’ discography before vanishing into the mist. In these songs, Jenny is largely defined by her absence, and she is given that definition by other characters. She is running from something. These features are beguiling, both to the characters who’ve told her story so far and to the listener. They invite certain questions: Who is Jenny, really? What is she running from? Well, she’s a warrior and a thief, and, this being an album by the Mountain Goats, it’s a safe bet whatever she’s fleeing is something bad. Something catastrophically bad.

Jenny from Thebes is the story of Jenny, her southwestern ranch style house, the people for whom that house is a place of safety, and the west Texas town that is uncomfortable with its existence. It is a story about the individual and society, about safety and shelter and those who choose to provide care when nobody else will.