Brother’s All Things Considered album release has been a slow burn since the project’s establishment in 2024. The band has given fans a taste of the record with single drops, music videos, and styled photoshoots. These are resilient, young rockers who have shown countless appreciation for their fanbase, even going so far as to name themselves “Brother” in recognition of their unity.
The trio – Chandler Malin, Cody Short, and Devrin Diesz – has a clean-cut sound, influenced by American and British rock and filtered through their Southern roots. Brother aimed for a cohesive, narrative-style album in All Things Considered, where each track bleeds into the next, basically forming one continuous love song. The concept is very ambitious for a band’s first full-length album.
The brief “Intro” opens the record in a disorienting, dissonant manner, like an orchestra tuning up before a performance. We later find out that this foundational prelude serves as the album’s anthem, with its instrumental elements sprinkled throughout. The introduction transitions straight into “Make It Right (Get It)” – the lead-off track that gives us a first impression of Malin’s youthful voice, backed by a catchy, summery hook. Unlike what the album cover might suggest, their sound has a brighter, more upbeat rhythm, resembling something out of a 2000s romcom soundtrack.
“Arms Around Me” is another infectious melody, expanding the album’s cinematic quality. The added strings enchant listeners into a romantic atmosphere full of yearning. Ramped-up acoustic strumming in the pre-chorus makes it seem like our charismatic protagonist is running up a grassy hill with his heart on his sleeve. At the same time, Short’s dexterous guitar playing keeps a rock edge, especially evident during his recurring solos. The first few tracks have a consistent feel with similar structures, lively tempos, and repeated use of strings. This supports the album’s conceptual unity, even if that uniformity occasionally blurs the lines between tracks.
The second half of All Things Considered is more experimental with touches of folk and country. “Renaissance Queen” stands out in particular, shifting into a darker, moodier tone compared to the poppier tracks that came before. The reverb-heavy guitar and use of minor chords cause a surge of adrenaline, all while small percussive details – like the sound of boot spurs jingling on the ground – drop you straight into the Wild West. The variety in these layered components is a great display of Brother’s range and willingness to test new waters.
Another memorable addition to the narrative is “Boyish,” where the western motif transitions into a loose, garage band setting. There’s a playfulness and borderline head-banging energy, led by drummer Diesz’s high chops. This contrast from the rest of the album is refreshing; we needed a danceable, punk-inspired beat. The band puts up a front with their edgy vocals and nonchalant attitude, until they snap back into a vulnerable, polished tone – their looseness was a distraction from the drama. The previously structured and controlled tracks almost took away some personality, but the last stretch of songs brought it back.
Closing the album, the title track “All Things Considered” pieces everything together with a sonic callback to the rest of the sounds and themes that came before. The keys serve a nostalgic purpose while being accompanied by a mesmerizing, funky guitar line. At the song’s finale, the droning lyrics “I’m doing fine…” are looped right back into “Intro”. It’s a clever idea that reinforces the “endless album” concept, encouraging listeners to play All Things Considered on repeat.
Brother truly shines when they push boundaries and tap into their experimental side. They know how to commit to a theme and are already adept at the promotional aspect of album releases. With their creative drive, there’s no doubt they will be mainstream in the near future.
All things considered… I’m interested in what they do next.
Written by Olivia Lugo