Hailing from New Hope, PA, Sean Hopkins is a man of many musical talents. At a young age, he learned to play guitar, only to transition to playing bass for several indie bands. Eventually, he released his first solo album, Chasing Ghosts in the Dark, which was praised by Pitch Perfect a few months back. To quote critic Jay Freeman, “I’m willing to bet that if you listened to it again and again, you’ll find something new that you didn’t hear before. That to me is the mark of a great album, and a great artist.” I would add that his songs fall under the category of indie music with singer-songwriter inflections.
Chasing Ghosts in the Dark was a collaborative effort between Hopkins and producer Woody Jiang. Jiang’s production is undeniably smooth and glossy, which works wonders for Hopkins’ mellow acoustic backing. Additionally, both Jiang and Hopkins collaborated on each composition. Once recording was done, each song was mixed and mastered using Avid Pro Tools, another key factor in giving the record its trademark gloss.
Hopkins’ debut album starts with “All I Ever Wanted,” a track that’s lit up with his gorgeous chord progressions, both acoustic and electric. As it progresses, the melancholy echoes of guitars become more prominent. This reminded me of The Cure, one of his influences for the debut. “Light Shades Grey” continues the stark moodiness of the opening song, albeit in a different manner. It’s not as much echo-laden as it is trance-inducing with its repetitive acoustic guitar strumming. My personal favorite, however, is the ensuing gem, “Winter’s Breath,” that utilizes clean electric guitar to massive effect. It almost sounds like something straight from Coldplay’s debut, Parachutes, perhaps one of the most intimate albums ever produced.
“Like a Whisper” is like being wrapped up in a warm blanket with hot chocolate. It is essentially a lively, feel-good anthem, at least sonically. “Tears Surround You” is singer-songwriter music at its core, even with its added strings. Moreover, the chilling “Never Say Never” is another intensely rhythmic highlight that could very well have been something written by Black Rebel Motorcycle Club, thanks to an echoing electric guitar part provided by Blaise Hopkins. Blaise contributes guitar to the eleventh song, “Dream a Dream” as well.
“A Longful Farewell” begins the second half of the record, and it is worth listening to for the chorus alone. The title track is a remarkable testament to Hopkins’ guitar and bass playing ability. Piano-accentuated “Wish with Me” continues the tradition of adding textured ambience to acoustic guitars. The percussion in this one is also superb, with the tambourine providing my personal favorite groove of this whole LP.
“Summer Stare” features all sorts of cool musical complexities revolving around its intricate guitar patterns, whereas “Dream a Dream” sounds like a dreamy indie lullaby. The guitars once again sound like Parachutes-era Coldplay, evoking a nocturnal atmosphere. Last up is “It’s Alright.” I can assume that this is supposed to be a calming mantra of sorts even without knowing what the lyrical content is. It does quite literally say “It’s alright,” after all! Musically, making this the closer was a smart move, ending the album with a relaxing gesture, like swaying in the breeze.
It’s not very often that you come across an album as cohesive, yet varied, as Sean Hopkins’ debut. Chasing Ghosts in the Dark is sure to win you over even if you aren’t into singer-songwriter-esque music. Strongly recommended!
Heather Savage
