Now, we’re thrilled to be welcoming back our own legendary indie folk songwriter, Ryan Yingst, to our virtual world, a musician whose work continuously inspires us to see what true evolution looks like. Ryan Yingst is a living legend when it comes to evolution because by fearlessly exploring different genres and musical landscapes, he created a unique sound world which not only can be heard but felt on a profound level. But what turns his music into something special and magical is his brutally honest songwriting skills. He has an incredible talent to reflect the purest vulnerabilities of human nature in his songs using the themes of grief, addiction, and fear while surrounded by burning embers of hope and love. “Ordinary Means,” for example, is a masterpiece of his which has found its home right in my mind and music playlists. He released a six song EP on 12th September, called “A Nice Neighborhood to Have Bad Habits In”. Let’s explore this masterpiece together.
“Canary In The Coal Mine” kicks off the EP in a minor key with a subdued fingerpicked acoustic guitar melody at the bottom of its register, accompanied quietly by an ambient hum from the room and a dull thud of a kick drum, until a warm slide guitar note fades in softly in the background. Thematically, this song takes the listener deep into the quiet horror of burnout, a toxic environment, and the sinking understanding that you are the canary being sacrificed in a mine that is poisoning you. The character in the song, realizes that he gets to get away from someone or someplace and he seems to have learned this the hard way. As he’s parting ways with this person or place, he gives a final piece of advice, letting those who remain know that, they will crash and burn if they do not leave. Musically, Ryan sings in a manner that is very tired and personal in the vocals, with lots of raspy baritone warmth in the verses until she goes to belt mode in the chorus, where there is an emotional strain in her voice. Musically speaking, there is the dusty folk-rock guitar in fingerstyle style with the upright bass, pedal steel accents, and snare brushing.
The transition to the second track “If I Don’t Have You” begins with a synth beat, and an electric guitar playing a clear and bright-sounding riff that has a tremolo shimmer in its chords and rhythmical structure, along with finger snaps and vocals as the lead-in to the solid beat of the drums at mid-tempo pace. The lyrics are devoted to existential dependence, devotion, and the terrible fear of making all of your world hinge on someone else in spite of your internal chaos. Yingst analyzes the phenomenon of how love may become both the lifeline and total exposure to destruction. The persona in the song has decided that nothing matters if he is not with this person and having such a notion is very dangerous and can lead to a path of destruction. When it comes to his vocals, Ryan moves from his chest voice in an effortless transition into an emotive falsetto during the chorus builds. The instruments create a beautiful alt-pop-rock sound using warm organ chords, electric guitar lines, a bass line, and drums. The feeling that the song leaves one with is bittersweet comfort in a very personal song about the need for human connection.
“The Tallest Trees,” the third track, opens with a moody and atmospheric swell of electric guitar that is played over a synth pad before settling into an acoustic guitar motif that is plucked while a faint hi-hat marks time in the background. The themes shift to a persona who is willing to do whatever bit takes to make sure that the love he has for his beloved fall to pieces. Ryan delivers his vocals with commanding power and fragility by using subtle vocal fry and belt in the verses. From a sparse folk sound, the instrumentation develops organically to an elaborate Americana setting that includes expansive strings, full-bodied bass, and powerful percussion. This song evokes an intensely deep emotion, as it is a true tribute to the silent struggle of every individual burdened with their problems and yet resilient.
Injecting the track with energy, “Dopamine” opens with a syncopated, muted bassline combined with the snappy, staccato electric guitar riff and an upbeat drum groove, including rim shots and a shaker. The track focuses on coping methods of the modern age, instant gratification, and the endless search for the fast emotional fix. Using witty lyrics, Yingst reveals the endless process of seeking highs and following them with an ultimate crash. In the verses, Ryan uses the rhythmical, edgy vocal performance, while the chorus is performed at full volume with an anthemic effect. Musically, the track combines the indie pop and alt rock vibe, with energetic bass slides, driving drumming, and catchy guitar riffs. The track impacts the listener with its high adrenaline performance and provides a fun groove haven for the listeners while revealing our common anxieties of the digital age.
Moving from a noisy and chaotic atmosphere into one of tranquility and contemplation, the song “Ordinary Means” begins with an isolated yet warm guitar chord sequence with slight vinyl crackling, followed by a low cello drone with a finger-picked acoustic guitar playing. Lyrics include searching for beauty in ordinary things, acceptance of reality without glamour, and the realization that healing happens in ordinary moments rather than spectacular ones. Yingst avoids using glamorous drama in favor of persistent hard work and self-acceptance. His voice performance is very tender and personal, starting with breathy nuances and delicate vibrato that develops into strong, hoarse crescendo. Instruments used are organic acoustic guitars, and a stunning vocal performance. A feeling of comfort and tranquility leaves a listener after hearing the song.
Opening “We Were Once Wild” with a distant harp like sound, violin and then moving towards a rhythmic and sweeping strumming pattern of an acoustic guitar accompanied with a kick drum and ambient chimes floating through the air, the final song on this project captures the essence of its theme. As a song reflecting upon nostalgia and lost youth, We Were Once Wild reminisces about carefree days of the past in a matured manner and makes peace with adulthood and passing time. Vocally, Ryan puts everything into his song in order to take the listener from a quiet mood to a powerful choral climax. The instrumentation builds up to a grandiose, cinematic ending with the use of powerful lead guitar, thunderous tom drum, deep bass and vocal harmonies. All in all, this track serves as a cathartic ending for this album and closes the project in a victorious and bittersweet manner.
In essence, “A Nice Neighborhood to Have Bad Habits In” is a class in emotional transmutation, an awe-inspiring collection of works created through some of the most difficult experiences one can go through, converting the harsh realities of life into beautiful pieces of art. Through tackling the toughest sides of life such as addiction, loss, dysfunctional relationships, and the chaotic randomness of the indifferent world around us, Ryan gives us a place to meditate without any judgment whatsoever and commiserate without even a grain of criticism. He allows us to give ourselves room to heal through his music. Having been one of his supporters throughout his journey, I felt like I understood the extent of his genius; however, listening to this EP album has left me speechless, deeply impressed, and amazed with perfection of the work. It is the perfect evidence of all that blood, sweat, and soul that Ryan Yingst has poured into his music career, showing that he is destined to reach the peak of the music world, and I couldn’t be happier to witness it.
Stream the “A Nice Neighborhood To Have Bad Habits In” EP on Spotify
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