On the Levee by Jaco Jaco–Album Review
On the Levee by Jaco Jaco–Album Review
There are albums that impress through spectacle and there are albums whose greatest strength lies in their quiet sincerity. On The Levee feels like a deeply autobiographical work, offering a fascinating look inside the present psyche of Jacob Theriot—formerly and notably of the trio-turned-duo Sports. When I say this, I don’t just mean lyrically. I think the album’s sonic character is just as revealing. The “vibe” of the album gives away as much as any lyric ever could.
It is hard to start to explain, let alone review On the Levee anywhere other than with its dreamy and undeniably lackadaisical, yet intricate, atmosphere. Nearly every production decision seems designed to create space rather than fill it. The synths are lush and all-encompassing whilst being mixed in a way that leaves room for nearly any other imaginable instrumentation or vocals. The rhythm section is particularly strong throughout the record. The percussion is quite varied with certain songs incorporating rhythms from outside neo-psychedelia and broader indie rock, such as the catchy “Wager,” which incorporates an arguably hip-hop sounding drum pattern. The basslines often evoke the melodic weight of classic Tame Impala more than the band’s own recent work has. They are catchy, heavy, in my estimation, are the true backbone of a few of these songs, most notably “Fever Frolic.” Stereo imaging is used to great effect through panned instrumentation and layered vocals. This is especially apparent when slightly different guitar takes are panned apart, creating interlocking parts that produce a wide and distinctive sonic texture. This focus on atmosphere creates an outwardly relaxed soundscape that gradually reveals itself to be remarkably intricate. Altogether, these choices create an atmosphere that can feel either deeply relaxing or quietly melancholic, depending on the listener.
Lyrically, however, the album tells a different story. For starters, the album discusses extremely heavy topics including the very relatable idea that the world has become overly superficial and transaction-based, leading to a desire to break away from the “charade,” as it were. Certainly not a feeling I would call laid-back in any capacity. The album is dense with descriptive lyrics that naturally conjure mental images of the mentioned objects, concepts and environments from the songs. Images of springs, hounds beginning to bark, knowing what is real, the film still rolling and more will naturally run through most attentive listeners’ minds as the lyrics float by.
The imagery is complemented by more philosophical lyrics that wrestle with similarly weighty subjects. This pairing of vivid imagery and philosophical lyrics allows the listener to easily picture—if not fully relate to—the described scenarios, making On the Levee a deeply evocative work or a great “teaching album,” as I like to describe records that leave me feeling as though I’ve learned something or found myself testing the artist’s philosophies against my own experiences.
If we zoom out a bit further, all these elements together lead to what I like to describe as a “sinking” feeling throughout. There is a logical reason that “Charade” is the song that begins the album. One of the album’s biggest strengths is its sequencing. I am a firm believer in the art of track list curation, meaning the opening song should function as a “hook,” or the beginning of a narrative arc, and the closing song should function as a “farewell to concept,” so to speak. This album does that rather well. I think the strongest example is the placement of the closing track, “Thought It Wouldn’t Happen” and the album opener and lead single “Charade.”
I feel very strongly that the former is arguably the most unique track on the album, as well as the most natural closing track I have heard in 2026. The latter provides an excellent incentive and setup for the rest of the LP. While I feel strongly about the effectiveness of this structure, it is worth noting that not every listener will engage with the album in this same way. Many will not be dissecting sequencing or sonic detail but instead experiencing the record at face value. In that context, some may find moments that feel anticlimactic or slightly meandering, particularly if they are expecting more immediate peaks or dramatic shifts in each track.
Jacob Theriot
Overall, I believe On the Levee is an enjoyable listen, and that most fans of Jacob’s other work (or the genre at large) will walk away feeling quite satisfied and perhaps even “heard” by what Jacob has to say. I will definitely be returning to this record myself, as I too am very tired of the “charade.”
On the Levee releases today, July 10th, 2026!
Jaco Jaco Online:
Instagram | Bandcamp
Johnny Damron is an Ohio-based music writer and founder of Sauna Sounds, an independent outlet focused on music history, culture, and analysis. His work explores psychedelia, classic rock, and the cultural stories that surround music.
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