Let’s sink into the gorgeous and intricate sound of Bomethius, the moniker of Jonathan Hodges, who just released a new 10-song record titled “Borrowed Time.” The record is available on all streaming platforms and also on vinyl via Oakley Avenue Records.
The opening track, “What’s That Now?” is driven by acoustic guitars, setting the tone with a warm, grounded feel. The vocals enter with a psychedelic flair, bending notes in a captivating way that grabs the listener’s full attention. Meanwhile, an electric keyboard adds a catchy riff, perfectly filling the spaces between. Bomethius’s head voice takes the vocals to soaring heights, adding a sense of ethereal beauty to the track. Lyrically, the song delves into the flaws of power structures and the complicity of those who choose to uphold them.
The next track, “Upbeat,” carries the theme forward, exploring the experience of escaping abusive systems only to be pulled or deceived back into them, perpetuating the vicious cycle. From the very first note, the vocals captivate with a pop-leaning catchiness. An electric keyboard brings a comforting warmth to the track, while the guitar injects a raw, angsty edge. The guitar feels like an act of defiance, a powerful sonic protest against oppressive power structures. Vocally, this song really allows Jonathan Hodges to showcase his vocal abilities and power.
“I Am Caesar’s (Now)” delves deeper into the narrative of power systems and authority. The lyrics center on a character, possibly inspired by Caesar, who is convinced of their ability to reign successfully. However, they remain blind to the reality that violence can swiftly and dramatically strip them of their power position. This song gives the listener a break from drums. Listeners won’t even miss the drums because the sounds of the electric keyboard go so well with the vocal melody. This song feels much like a lullaby. It brings a feeling of peace to the speakers, even though the lyrics tell a very different story.
The peaceful tone carries on with “What Can You Do?,” a track that truly highlights Jonathan Hodges’ talents. Not only does he craft captivating vocal melodies, but his guitar work shines as well. The acoustic guitar weaves its own melody, occasionally dipping into a bluesy flair. Like a lullaby, the song exudes a gentle charm, with melodies in both the vocals and guitar that are utterly irresistible. A soothing whistling section adds a personal touch, making it feel as though Bomethius is performing right there in the room.
“Leave It Alone” introduces an acoustic piano, infusing the track with a bluesy essence evident in both the piano and vocals. The electric guitar contributes rock ‘n’ roll riffs with a pleasingly distorted tone, complemented by a soulful horn solo. The music’s unexpected turns keep listeners engaged, ensuring there’s never a dull moment. This song is all about accepting the things in life that cannot be changed. Acceptance helps remove the feeling of suffering. This song is a great way to remind listeners of this important life lesson.
The title track is my favorite song on this album. I started writing “Borrowed Time” in late September of 2022 about what the daily experience C-PTSD feels like. Anyone familiar with the diagnosis probably knows something about the concept of The Critic, but, for those unfamiliar, The Critic is sort of the opposite of a conscience. Rather than helping a person to distinguish between right and wrong, The Critic insists that you are wrong. Your very being is wrong. It often presents as the voice of a survivor’s primary abuser, an uncharitable impression — frequently repeating familiar caustic words and sometimes inventing new ones. If left unchecked, consciousness descends into an inescapable verbal assault upon a person’s very will to live. This song is meant to represent the act of facing, exposing, and thereby silencing The Critic — a critical step for anyone suffering with this affliction.
– Bomethius
“Borrowed Time” is a standout track, featuring a collaboration between Jonathan and his sister, Caroline of Wilted August. Their sibling harmonies are hauntingly beautiful, delivering a deeply emotional performance. The acoustic guitars and pianos, played in a minor key, intertwine to create a mysterious atmosphere. A slow, bluesy horn solo further enhances the haunting instrumentation, making this song a memorable highlight of the record. Lyrically, this song is about overcoming abuse. This song builds slowly before erupting into a louder vocal chant where Caroline sings “You’re fine.”
“Borrowed Time” was easily the hardest to record. After I had finished writing the first draft I knew that I wasn’t supposed to sing this alone — it just wasn’t going to work that way. It sat untouched in my notes app for well over 6 months before I finally started tracking with my sister, Caroline. Caroline understood the song the moment she heard it, and she had so many ideas, it all just flowed together. It was one of the high points of my life getting to put it together with her, and the rest of the band, but it took a long time. It didn’t help either that almost every element of this song was recorded in a different city — and I had to give feedback over the phone. Caroline was self-recording in ATL, Andrew Binder (upright bass) was in STL, Chris Stubblefield (trumpet) was in DFW, and thankfully Jeremiah de la Peña (drums) was here in Chicago. Our vision for the lead vocals (and for the rest of the song) was creepy, disembodied, and intoxicating. And those are great words, but actually finding that sound was pretty difficult. In order to achieve it Caroline and I sang in octaves for most of the verses/choruses but the singing is extremely soft — almost a whisper (“an evil whisper!”). I think we managed to find a really cool balance. It’s one of the very few songs where everything sounds exactly as I imagined it could. Often with songs you have this platonic ideal of the song in your mind that you’re constantly striving for throughout the whole writing, recording, and mixing process, and most of the time you step back at the release and the comparison isn’t exactly flattering. It’s a bit like that drawing-a-horse meme… But I think we managed to bring the idea to life. – Bomethius
Listeners will appreciate the pedal steel in “NYC,” a laid-back folk ballad with a haunting melody. Caroline returns on this track, which explores the journey from abusive relationships to freedom, drawing parallels between relationships and paintings. This song provides healing tones to the listeners. Perhaps, it gives another perspective about the healing journey.
“Aida” paints a vivid picture of a toxic relationship, highlighting the dynamics of abusive power. The stunning acoustic guitars and strings create a serene soundscape, offering a sense of peace despite the song’s heavy subject matter. There is a certain level of peace that is maintained without changing. Change can bring even more chaos, at least momentarily, and often getting out of an abusive relationship comes with lots of chaos. However, on the other side of that disruption is a newfound peace and calmness that every loving human being deserves.
“Alright” is probably the most fun I had on this album. This song still makes me laugh out loud when I hear it. When I started dreaming about playing guitar as a little kid it was songs like “Alright” that I was dreaming about. It’s very much pulling on my early louder influences like Green Day, Muse, and Weezer, but it’s not quite as sonically heavy as some their stuff can get — like this stays pretty melodic, pretty light, it’s almost painfully mundane. But this song is where the catharsis is for me. I think Bomethius has always been about hiding little tragicomedies in plain sight, and this song is a pretty good example of that, but I’m also constantly trying to find new ways to cage them. For example, “Alright” allowed me to explore rapidly changing speakers over the course of the song’s verses and choruses — jumping through multiple points of view around a single character. Every person has a few pov’s encircling their lived experiences and it was interesting giving a voice to each one in this song. The internal moral negotiation around circumstances and actions, the objectiv
e reality of what’s actually happening (regardless of what is consciously perceived), and then what a person permits themselves to say out loud — the means by which they break the internal tension between their own meagre justifications and reality. In “Alright” sometimes this character’s conscience is comforting him, (“Blood on the floor/Let yourself off”) sometimes he’s being talked about by some objective narrator, (“Been here before/But he can’t be sure”) sometimes he’s saying stuff (“What a dirty world…”). “Alright” provides a front row seat to the internal logic that sustains the day-to-day for a blinkered and beleaguered suburban nebbish incapable of honest self-reflection. What the conscience of a man with no discernible conscience says to himself when the bleak reality of his cumulative choices break upon him is tragic… but then the joke is that it’s called “Alright” — this is manic indifference. – Bomethius
“Alright” injects a burst of energy into the album with its rock ‘n’ roll vibe. The track features a heavy drum kit, a locked-in bass guitar, distorted electric guitars, swirling synths, and a grungy vocal delivery. The catchy vocal melody and explosive moments throughout keep listeners engaged from start to finish. Eventually, the song erupts into a melodic guitar solo. Listeners may have found themselves waiting for this moment all along. Here it is.
The album concludes with “Won’t Be Much Longer,” where guitars, synths, and violins create a dreamlike soundscape. This gentle track offers listeners a moment of introspection, providing a peaceful contrast to the album’s more intense themes. Its serene conclusion brings a sense of closure, leaving the record feeling well-rounded and complete.
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