Djo’s ‘The Crux’: A Definitive Artistic Statement from Joe Keery

Joe Keery, known for his roles in popular series such as Stranger Things and Fargo, has unveiled his third album, The Crux, under the musical persona of Djo. The artwork features Keery appearing to dangle from a window, oblivious to the bustling city life outside, serving as a metaphor for his quest to be recognized for his music rather than his acting career. This album presents a compelling case for his evolution as a serious artist.

Musical Journey from ‘End of Beginning’

Following the success of his breakout single “End of Beginning,” which amassed a staggering 1.5 billion streams since its 2022 release, Djo could have easily settled into a comfortable routine of releasing similar tracks. However, he chose to embark on a creative evolution, moving beyond the indie-pop sound that characterized his earlier works.

His previous two albums, Twenty Twenty (2019) and Decide (2022), showcased a blend of mellow pop rock and indie melodies. With The Crux, Djo ventures into a retro-inspired sound that pays homage to the music of the Seventies and Eighties. By opting for the renowned Electric Lady Studios in New York for recording, he enhances the depth and polish of his music, pairing it with introspective lyrics that explore themes of love and connection. Djo played a major role in this project, having written or co-written all tracks and collaborated with Adam Thein for production, while also contributing instrumentation across the album.

Exploring the Album’s Highlights

The album opens with “Lonesome Is a State of Mind,” where Djo’s calm vocal style, reminiscent of Julian Casablancas, weaves through gentle keys and acoustic guitar. The song’s reflective lyrics culminate in an energetic chorus that invites listeners to experience a sense of joy amidst introspection. His playful critique on superficiality shines through in the lead single “Basic Being Basic,” which resonates with an LCD Soundsystem vibe and asserts, “I don’t want your money/I don’t care for fame/I don’t wanna live in life where’s that’s my big exchange.”

Another standout track, “Delete Ya,” opens with a riff that channels the essence of Prince, shifting into a catchy breakup tune that recalls the sound of The Police. Djo expresses regret and longing, singing, “Oh god, I wish I could delete ya,” set against a backdrop of vibrant melodies that underscore the emotional weight of the lyrics. “Potion” emerges as a soft-rock ballad, infused with striking guitars and heartfelt lines, emphasizing the search for deeper connection.

Djo’s Diverse Influences

As the album unfolds, “Fly” offers a contemplative pause as Djo reflects on moving past a former relationship. The dreamy atmosphere, enhanced by mellotron sounds, accompanies his declaration, “falling back to her sounds so easy to me/But I must fly.” Not all tracks fare equally—“Charlies’ Garden,” presumably referencing his co-star Charlie Heaton, tends towards a nostalgic tone, which at times borders on caricature of Paul McCartney’s style.

The spirited track “Gap Tooth Smile” brings forth an energetic influence from classic rock, where Djo channels the spirit of David Bowie and Queen, referencing Freddie Mercury in an enthusiastic manner, “That’s my little missus, she’s my number one…” This creates a lively juxtaposition to the more subdued moments scattered throughout the album.

Emotional Depth and Growth

Djo embraces a more vulnerable side in “Golden Line,” characterized by a Carole King-inspired piano arrangement supported by ethereal harmonies. This emotional depth carries over into “Back on You,” where he captures the essence of healing and support post-breakup, affirming his reliance on friends and family, and most importantly, on himself.

A New Era for Djo

The Crux undeniably marks a pivotal moment in Joe Keery’s musical journey. While “End of Beginning” served as his monumental entry into the music scene, this new album cements his status as a serious musician. With compelling storytelling and polished production, he has set the groundwork for a promising future, ensuring that his artistic endeavors continue to flourish long after the closing credits of Stranger Things.