Last updated on January 5, 2022
Andy Werth and band hail from Seattle, Washington, but there’s not much evidence from their first full-length album, Burn the Maps and Bury the Compass, that it ever rains there. And while we all know this to be untrue, Andy Werth sure makes an impressive case for listeners to believe in Seattle’s perpetual sunshine. With bright accompanying horns (trumpet and sax), joyful piano arrangements, and a hint of electronic sounds mixed in, Burn the Maps and Bury the Compass is a perfect soundtrack for spring. There are clouds on the album cover, and there are some “cloudy” moments on the album, but there’s always sun in the forecast.
The album’s opener, “Stay Here with You,” begins on a calm note with Werth’s Ben-Foldsy piano part, but really shines during the incredibly catchy chorus. You’ll be singing along the first time you hear it. “Stay Here with You” also introduces the reoccurring theme of travel (especially by car) and direction, which would make this album really great for road trips. “Get in Your Car” has a pretty similar format to the opener, but has a different enough melody to make it another pop gem.
“15th Street” stands out for its fun lyrics and (again) its catchy chorus. By moving seamlessly from verse to hook to chorus, this song is very well-composed in an “art is hiding the art” sort of way. The energetic and dance-inducing bass (played by Steve McPherson) is also fun in “15th Street.” “Emily” has a lyric that really stands out for me – “you’ll find out there’s more to life than just being alive.” Also, listen for a neat bit in here with a low, walking piano line working in tandem with punctuating horns – it only comes once, so pay attention!
“Back Row” brings more upbeat rock to the album, and includes a downright funky horn section. Relentless, pounding energy from drummer Jeff Roeser drives the song. “Nothing to Fix” also adds another jolt of adrenaline to the second half of the album, with an insistent beat and angry lyrics.
Some of the weaker songs on Burn the Maps and Bury the Compass are the electronically-driven ones, but they are pretty short, and it is still interesting to hear it partnered with the classical piano. The best moments on this album are the choruses, which are generally the most full-sounding and satisfying parts. Another strong point is Werth’s voice, which is fun and youthful, but also developed enough to sound mature. He has a no-nonsense vocal style which hits all the notes (some of them soaring) without unnecessary embellishment. Burn the Maps and Bury the Compass will be available for purchase on April 7th, but you can check out the whole thing on Andy Werth’s website.