Gazebo is a contemplative, sonically rich record reflecting Schubert’s memories of suburban youth. Written during the same period as his 2021 release OEA, the album intertwines themes of adolescence, reflection, and distance. Schubert performs most of the instruments himself, experimenting with sound quality, at times embracing rougher textures. Featuring guest appearances from artists like Emma Williams (Squirrel Flower), the album feels intimate and nostalgic—not necessarily seeking resolution, but offering a nuanced look at past experiences.
Schubert draws heavily on ’90s and early 2000s indie rock, particularly in the guitar-driven arrangements and raw, lo-fi aesthetic. Gazebo blends intricate, distorted guitar lines with dreamy atmospheres and understated melodies. While leaning more toward indie-folk, the album balances fidelity with distortion, creating the feeling of listening to memories filtered through layers of sound.
There’s a clear connection to the intimate songwriting of Elliott Smith and the atmospheric qualities of Alex G. Fans of Conor Oberst, Adrienne Lenker, Sufjan Stevens, and Nick Drake may also appreciate the blend of lo-fi aesthetics and emotional depth on Gazebo.
“Secrets” exemplifies the album’s mixture of intimacy and raw emotion. The song builds through layered instrumentation, creating an immediate connection. Another highlight is “Pin on A String,” a duet with Squirrel Flower’s Emma Williams, which stands out for its heartfelt performance and harmonized layers. “Fake Names” shifts the pace, delivering a foot-tapping chorus that stays with you. “Prairie Fire,” featuring Schubert’s wife Alexa Viscius, adds another emotional dimension, pairing their voices in a song that feels both personal and expansive.
The lyrics on Gazebo focus on reflection, with Schubert examining his past through a thoughtful and nostalgic lens. Rather than seeking redemption, the lyrics emphasize the complexities of memory—how time reshapes our view of past experiences. Schubert’s words are grounded and honest, resonating without trying to be overly profound.
Christopher Anthony
For more of Christopher Anthony’s music reviews, check out The Fire Note
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