There’s a sense of cosmic wonder built into the sinews of Suss’ latest LP, High Line. The veteran NYC band blends a mix of ambient textures with a high plains country crawl that slices Bruce Langhorne with Barn Owl for a trip down an otherworldly rabbit hole. The album has a hermetic magic to it, lonesome, melancholy, but all consuming and engrossing in a way that seems to transcend more than just just feelings. Like a great work in sound design, Suss’ album seems to be narrating a journey, a wander through mystic corridors that’s beyond this plane. The songs ache with the hollowed marrow of driftwood — a life leeched by the sea and left to burn up in the sun – yet the discarded pieces of pulp have tales to tell, a world left behind in their sunbleached bends. High Line is an album marked by erosion and exfoliation, something that seeks to sink deeper into the strata beyond the dip of the horizon.

The band slinks from mirage to mirage, never explaining but always beckoning with a silent wave of the hand for the listener to follow deeper. It’s as if some truth might be uncovered over the next ridge, but there’s always a next ridge. Somehow when the glare recoils we’re left only with ourselves alone in a parking lot wondering if it was all shimmer and shine, or if those epiphanies were tangible and touchable. It doesn’t matter in the end. We’re changed and the sun sets a few degrees to the North from here on out. New maps are forged while the rest of the world sleeps. The album is the band at their peak, feeling out the lay lines of a new and dire era. For those who can see the cartography, this one’s gonna be a stunner. The rest will just hear the wind rustling and wander lost.

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