Jason Ebbs Brings the Party with Sophomore Album "The Deep End"
It’s almost March of 2021. We’ve all been cooped up inside for almost a year. On top of that, this winter has been particularly miserable, since nobody’s exactly itching for a socially-distanced picnic in the snow right about now. There’s nothing to do but dream of better times. Insert Jason Ebbs. The alternative beach rocker from Boston has built a catalogue of summer-y beats and retro guitar chords. His latest album, The Deep End, is no exception, and it hits especially hard in this time of isolation. It’s not all sunshine and rainbows; Ebbs sings about plenty of heartbreak and regret. However it’s presented with a laid-back attitude that makes you want to grab a fruity drink and dance your problems away.
Image courtesy of Jason Ebbs’ Twitter // @jasonebbs
This isn’t Ebbs’ first rodeo: the 22-year-old Northeastern student made his first splash with Superego in 2019. However, it’s clear he has refined his sound since then. Superego featured an eclectic mix of genres, from vintage surf rock to avant-garde electro. With The Deep End, Ebbs leans into a more pop sound. Bright guitars and lush synths create an ambient soundscape on tracks like “Not Even Over.” The album is full of catchy, upbeat grooves that demand listeners to get up and move. The lead guitar on “Cherry Chapstick” and “Baby Blue” sound like they were pulled straight from a 60s surf film. But don’t think Ebbs hasn’t gone soft; he can still tear it up when he needs to. On “Sister” and “Come Over Tonight,” he turns the dial up for some Weezer-inspired rock bangers. However, whereas the heavier tracks of “Superego” felt out of place, his sophomore album is much more sonically consistent.
The Deep End perfectly captures the relaxing yet exhilarating nature of a beach getaway. The production isn’t too in your face, and Ebbs tends to shy away from high-tempo barn burners. Instead, his melodies and breezy strumming take you down a sonic lazy river. This is exactly the type of music one would expect to hear from the band at a beach house party. Ebbs himself brings a lot to the mix, and rightfully asserts himself as the star of the show. You can hear the smile on his face as he sings the chorus to “Forgotten.” While we’re all stuck in our homes in the dead of winter, it really takes you to another world. A world where we can hang out with friends and blast this album while driving to the beach.
The fun and carefree nature of The Deep End is especially impressive when contrasted with the album’s lyrics. Ebbs doesn’t sing about good times and parties. He’s got more troubling matters on his mind, particularly relating to failed love and nostalgia. On the single “Clementine,” he sings “seems like I gave my best, and I guess I came in second. At least you made up your mind.” You can tell that the singer has seen a lot of opportunities pass him by. His understatement of the situation fits with his chilled vibe, making them even more depressed. Maybe if he wasn’t so nonchalant about his relationship fading away on “9:02,” the girl would still be interested. The album’s melancholy nature shines strongest on its title track. The image of lying “face down in the deep end” encapsulates how helpless you feel after a breakup. It only gets worse when you realize no one’s coming to save him; his girlfriend is long gone.
Yet Ebbs’ issues don't detract from the album at all. If anything, they justify his relaxed demeanor. When he sings about getting “White boy wasted in the passenger seat” on “Cherry Chapstick,” it’s not just for fun. It’s an escape from the real world. The Deep End is a very fatalistic look at life, one that understands there’s no changing the past and that the best solution is to go with the flow. Maybe it’s smart to figure it all out at some point. But for 43 minutes, he can let all his problems wash away with the tides. And there’s nothing wrong with that.