Nick Evans Mowery 'Kyd' ALBUM REVIEW - Pitch Perfect
Nick Evans Mowery
Kyd
self-released; 2025
By Jamie Funk
Kyd is the kind of record that settles in quickly. Nick Evans Mowery has been releasing music at a steady rate, and this album reads less like a reinvention than a tightening of focus. I got the impression Mowery is comfortable working inside familiar structures, interested in clarity and follow through rather than disruption. The songs move with confidence and restraint, built to be absorbed without friction.
“Move On Baby” opens things up with a clean 4/4 pulse and an Americana leaning rock framework. Underneath the familiar shape, the details quietly complicate things. The synth accents and electronic percussion give the track a slightly synthetic edge that keeps it from drifting into roots rock pastiche. The hook lands easily and sticks around longer than expected.
“Lucid Dream” leans harder into radio ready rock, built on a classic verse chorus structure that knows exactly when to expand and pull back. The bass line in the verses does a lot of the work here, grounding the song and adding momentum without crowding the mix. “Kyd (Leave the Radio On)” stands out as one of the album’s high points, introducing a lighter and more playful tone. There’s a bright, conversational quality to the melody that brings to mind indie pop’s sunnier instincts while staying rooted in Mowery’s songwriting voice.
“Crush” slows things down with a softer, more sentimental approach. It plays like a classic love ballad, lush but controlled. “Edge of a Breakthrough” opens with guitar lines that briefly nod toward psychedelic rock before settling into a steady, shadowed groove. The atmosphere here is darker and more diffuse, and the consistency of the rhythm gives the track its weight.
“Kickin' the Canvas” blends electronic drums, bass, and subtle synth textures into one of the album’s more cohesive arrangements. “Market Square Girl” trades in nostalgia, while “Use It, Lose It, Gone” carries a sharper edge that recalls punk informed rock songwriting. The closing track, “Wrong,” delivers some of the strongest vocals on the record and ends the album on a reflective note that feels earned.
Kyd does not chase surprise. Instead, it offers accessible melodies, steady songwriting, and a clear sense of purpose. The consistency works in its favor, making the album an easy and rewarding listen for anyone drawn to well crafted, approachable rock music.
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