Djo proves himself on The Crux

Penned under Djo, this track later found itself nominated for the Best International Song at this year's Brits – its wistful vocals and melancholic synths soundtracking TikTok’s of every variety.

With the rest of Djo’s discography uncovered after this viral moment – two studio records and a delightful cornucopia of singles – his latest delve into psychedelic undertones awash with synth-laden soundscapes comes in the form of his third album, The Crux.

Opening the album is “Lonesome Is A State Of Mind”, a cut steeped in undeniable pop energy and funk that takes over from the track’s subtler origins at the minute-and-a-half mark. In a sound not far removed from the stylings of MGMT, “Lonesome Is A State Of Mind” also works as an apt introduction to this new era of Djo.

Where the heavily-effected “Basic Being Basic” focuses on being in the moment, “Link” reflects on imposter syndrome, and overwhelming gloom in the face of joy (“I just graduated... / So why do I feel so bad?”). Relatable and raw, “Link” is consumed by drilling instrumentation and vocals that portray a desperate, and anxiety-ridden pleading.

“Delete Ya” tackles the not-new concept of memory erasure and tangles with the narrative of 2004 flick Eternal Sunshine Of The Spotless Mind. “Oh God I wish I could delete ya / Cos nothing can compete with ya” Djo dabbles in neo-psychedelia that shares a similar lyrical content with acoustically-styled “Egg” (“Your entire life is wiped clean from the bathroom window”).

“Fly” features wistful reflections that hover with its title. Delicate guitar strums perfectly complement Djo’s softer vocal performance that stands out as a lush and lightly dainty cut.

A true and simplistic love song, Djo swoons and deliberates infatuations in “Gap Tooth Smile” (“There she is gap tooth smile / God, how lucky can a simple man be?”) and brings the tempo back up from “Fly” and the Bowie-esque “Charlie’s Garden”. With vocals that almost mimic the style of early Bob Dylan, the track boasts impressive lyricism and a punchy, infectious chorus all the while nodding to Queen (“Freddy said it right cause she’s my killer queen”).

Closing The Crux is the almost title track “Crux”, rounding off Djo’s sonic exploration with a softer ballad that sees the inclusion of piano and tambourine that adds depth to the shimmering soundscape.

At a dozen tracks long, with The Crux, Djo is proving himself as a multi-faceted artist, being equally talented as both a performer and songwriter.