In an era of virtual instruments and headlines of “AI artists”, Sgt Splendor's Isotopia brings a hopeful reflection of authenticity and human talent. Led by Kate Vargas and Eric McFadden, this album is a demonstration of the irreplaceability of real instruments mastered by committed career musicians. 

As my first exposure to Sgt Splendor, Isotopia does not disappoint. The peculiar album’s title prompts a dive into the word itself. Assuming the inspiration comes from “isotopy,” defined as the study of deformations within ambient space that don’t change the object itself, it feels an appropriate representation of the journey ahead. This album is rooted in dirty desert blues at its core but cannot be confined by genre, melting sounds from classic gritty blues to old-timey boom-clap intermissions and carnival-esque oddities that keep you guessing.

The album opens with “Brave, Rough and Ready to Go”, immediately setting the stage with a memorable bluesy guitar riff perfectly suited for a slow-motion movie scene where the main character walks into a biker bar looking for a fight. It’s an immediate statement of intent.   Beautifully toned guitar motifs paired with steady, driving bass become the engine that keeps Isotopia chugging along, while the virtuosic rhythm section quietly emerges as the album’s unsung hero.

“Hey Splendor!” showcases the band’s rhythmic expertise without overcomplicating things. The drums and guitar licks lock together with precision, featuring fast bass runs, funk guitar, and motor-like drums that build to a dual guitar solo break. It’s rhythmically interesting in all the right ways.

“Money In It” stands as my favorite track on the album. Opening with a sinister, sludgy guitar and our first introduction to Eric’s growly vocals, distorted just enough to let you know they mean business, the song’s slow and intentional instrumentals pair perfectly with lyrics we all understand too well: “I only pray when I’m losing my way. I only pray when I got bills to pay... My god is well dressed and handsome.” It’s a gut-punch of modern cynicism wrapped in bluesy grit.

“Alley-oop” shifts gears into millennial alternative jam territory that feels nostalgic and fresh at once. Lead vocalist Kate Vargas delivers lyrics dripping with sass and confidence, painting darkly playful images that don’t pull punches.”You do the biting and I’ll do the chewing. What I didn’t say was I’d rather use a knife.”

“I Lit the Fire” departs from the sultry blues tone, leaning into distortion and punk energy. The talk-singing vocal performance brings a modern feel to the spirit of iconic “The” bands: The Talking Heads, The Kooks, The Strokes.

Then comes “Dark Ages I,” a beautiful juxtaposition of lyrics that recall “Going back to the dark ages” delivered alongside happy, upbeat old-timey boom-clap feel instrumentals. The full departure from distortion to pingy, clean guitar tones creates an unexpected vintage feel intermission to the album. 

The album includes a cover of Harvey Danger’s 1997 hit “Flagpole Sitta” that takes a decidedly different approach from the original. Sgt Splendor strips away the vocal punch and driving energy that fans know and love, transforming it into a moody, raspy, laid-back rendition. It’s an interesting reinterpretation, though those attached to the original’s high-energy spirit may find themselves homesick for Harvey Danger’s version.

“Showtime Baby” is aptly named. This song opens the flaps of the circus tent for curious listeners, greeting them with a virtuosic nylon-string Latin guitar introduction before leading them through an unexpected contrast of Latin tones, dark instrumentals, and a sinister “freakshow” vocal duet between Eric and Kate. The song closes with a standout closing meter paired with a haunting flute solo that lingers long after it ends.

“Seeing Things” serves as a playful penultimate punctuation to the journey, easily the most feel-good song on the album. It makes you want to sing along, though you’ll have a hard time choosing between the vocal “ahhs” or the even more prominent guitar “wahs.” The lyrics paint imaginative, playful images: “Once I loved the cookie monster but he turned into a toad. So I smashed him with my car and left him mangled by the road.”

The album closes with “Dark Ages II,” a tasteful use of déjà vu that creates familiarity as we revisit those Dark Ages lyrics, this time sans instruments in a playful, encore-like sign-off. The gypsy jazz influence gives it a sense of finality while maintaining the album’s quirky spirit.

Isotopia’s driving, vengeful tone is perfectly suited for pushing heavy weights at the gym, hyping yourself up for a confrontation, or even just another monotonous day of work. A gritty “desert blues” album with unique elements of creepy carnival amplified by the vocal pairing of Kate and Eric, it’s a combination of evil, daunting, and playful in the best way.

This album makes me want to put my eyeliner on a little thicker and walk a little taller.  Using the power of blues and luxurious guitar tones, Sgt Splendor drives an unapologetic modern hype anthem from start to finish.

The guitar solos throughout these studio recordings are short and sweet, perfectly suited for radio edits, but tantalizing enough to leave you craving more. This small taste of instrumental mastery makes me eager to catch Sgt Splendor live, where they can undoubtedly unleash an unhinged jam vehicle.

If you had to throw a blanket description over this band and album, “dirty desert blues” would fit, but there’s much more to Sgt Splendor, and this diversity is well demonstrated across Isotopia. It’s raw, it’s real, and it’s unapologetically human.

Kate Vargas - vocals, guitar, flute
Eric McFadden - guitar, vocals
Angeline Saris - bass
Norwood Fisher - bass
Paulo Baldi - drums

Recorded and engineered by Danielle Goldsmith, Travis Kasperbauer, assisted by Mikel Ross at Buena Vista West Studios and Lucky Recording Company. Mixed by Charles Newman.