With influences ranging from indie, alt-country and psychedelia, Boston rock band Tiberius (not to be confused with the Scottish metal band of the same name) have labelled their sound “Farm Emo”. The fusion of styles colours most of their debut album ‘Troubadour’ in such a way that their music feels inherently “90s”, yet at the same time, the record’s finest tracks feel so much grander than mere throwbacks to that plaid dominated era.

That said, ‘Sag’, is an excellent indicator of their more “retro alternative” interests. The track kicks off with a sizeable guitar riff and an almost funky bassline, which completely wrong-foots the audience, since the bulk of the sounds that follow fall far more into the trippy indie/light slacker bracket. The verses make a superb use of a bright sounding guitar and warbly vocal courtesy of bandleader Brendan Wright – clearly a musician who’s able to weave an atmospheric and emotive sound. Things really spring into life when the whole band hits upon something a little more aggressive, however, and when attacking at full volume, the love for Superchunk and Dinosaur Jr makes a superb contrast to the hazier vibes set in place elsewhere. Wonderfully nostalgic but without feeling dated, it’s a track that gives the more discerning rock fan a world of entertainment in under four minutes. Although ‘Troubadour’ offers a few more interesting tunes, with the help of ‘(there’s nothing wrong with the truth)’ acting as an extended intro via various lo-fi Americana fuelled, Crazy Horse inspired strums, ‘Sag’ creates the perfect springboard into Tiberius’ world.

‘Felt’ is a number that requires a little more work on behalf of the listener. To kick things off, a rattling drum part is joined by a high toned slacker vocal, before a thin sounding rhythm guitar adds a loose indie vibe. An occasional slide adds an Americana edge – hence “farm emo” – but unlike before, that doesn’t really add a strong focus. It isn’t until the guitars rise up a little more, at somewhere around the mid point, to deliver the kind of riffs that sound like Superchunk colliding with the melodic end of the Pavement catalogue, that any melodies really stick. From there, lovers of classic 90s slacker rock will be in their element. Tiberius’ overdriven sound really starts to feel a little more urgent and the layers of distortion compliment the loose vocal brilliantly. There might be moments here that sound derivative of the band’s 90s heroes, but since everything is reworked with love, this is a track that still works as a listen in its own right.

Opting for something a little more direct, the wonky sounding slacker rock of ‘Tag’ opens with a world of riffs that sound like an enthused Pavement, before slipping into a chorus where sunnier sounds and flowing melodies take in a little late 60s pop, a slightly baroque edge and a hazy neo-psych feel. The contrast between the two moods is striking, but never jarring. The dream-like chorus – where a pinch of Mercury Rev seeps into everything, lending a grandness that isn’t present on some of these songs – creates something that will make first time listeners’ ears prick up, hopefully drawing them further into a world of sound where it feels like Tiberius’ love of a musical curveball will make this album constantly interesting. And true enough, the next twist leaves the audience face to face with ‘It Has To Be True’, an alt-country workout that takes a pinch of Wilco and a Paul Simon-esque vocal to create something that sounds like buried treasure from a time before these musicians were even born. Its lilting melodies are timeless; the mix of pop and roots suits the light vocal perfectly, and overall, it gives ‘Troubadour’ one of its most melodic and accessible cuts. What it doesn’t sound like is the same Tiberius who were channelling Stephen Malkmus and Spiral Stairs just two minutes earlier, reinforcing any early feelings that – based on the pre-release singles – the Tiberius sound really is a grab-bag of influences. The fact that it all appears to work on some level says a lot about Brendan’s confidence as a songwriter.

It’s then all change again, when ‘Moab’ applies a world of jangly indie guitars to a mid tempo stomper where a spacious arrangement allows the drums to take centre stage. It’s a little punchier than some Tiberius fare in that respect, but a closer ear will hone in one some finely plucked strings and a mournful steel guitar, adding another alt-country twist. It’s here that the “Farm Emo” tag really comes into its own, since the influences from both camps are equally as strong. In terms of melody, though, it’s a great track; the marriage of mid tempo groove and Wayne Coyne-ish vocal works brilliantly, really helping this to become one of the album’s most immediate jams. Having lulled the listener, the distortion pedals are then brought into play for the noisier ‘Redwood’ where shoegaze guitar tones bristle against a indie jangle, deep basslines underscore an uneasy, emo drenched vocal, and Tiberius explore their darker musical intents. This is as different to ‘Moab’ as ‘Tag’ is to ‘It Has To Be True’, and yet, explored on its own terms, it quickly becomes one of the highlights within the Tiberius catalogue. The noisy elements are very much a force of nature, dropping love in the direction of a wealth of early 90s acts, but it’s when branching into a neo-psychedelic world that this becomes more interesting. The guitars lay an almost wispy melody, and in sympathy, Brendan’s vocals come through in a near whisper. The voice is only given a more prominent presence thanks to a world of effects, which very much makes a play for the listener looking to be taken somewhere out of the ordinary. Multiple listens do not diminish the jarring nature of this two-pronged piece; at the same time, the time spent only confirms that, despite lacking in a country element, these five minutes are a near perfect showcase for the often conflicting, yet often great, Tiberius sound.

There’s a lot to enjoy on this record, but ‘Painting of A Tree’ takes the band’s love of a slow burn to its most logical extreme, and in doing so, creates the album’s highlight. Stretching to almost seven minutes, the number opens quietly with a garage toned guitar and a live sounding drum part working a gentle groove. Bringing in a couple of louder elements, things briefly twist into something that sounds like a strange blend of Wilco rocking out and ‘Siamese Dream’ era Smashing Pumpkins in ballad mode, before everything slunks back into a haze. Settling into the quieter groove, echoing slide guitars and lapsteel sounds reinforce the emo band’s love of Americana influences – something that really gives them a distinctive edge – and although the overall sound feels more important than an actual song, it all sounds lovely. Moving slowly through a rockier second half, the guitar work sounds perfect with its very 90s tone, and by the time the lengthy arrangement reaches its climax, the love for Mercury Rev and Jeff Tweedy blends to create something that sounds far more unique to Tiberius themselves. Despite this working its magic incredibly slowly, it’s potentially the band’s finest recording.

Throughout its ten songs, ‘Troubadour’ rarely settles. It’s a record that sounds like it was created with a conflict of musical interests, yet at the same time, it all works very effectively…somehow. Maybe it’s because its ever shifting landscapes invite the listener into something that feels as if it were made with the more patient ear in mind; maybe its that Tiberius understand the need to stand out among the bands who desperately want to just recycle 90s sounds as authentically as possible. Whatever their motivation, this Boston based trio have crafted an album that is very rewarding – and only becomes even more so over time.

October 2025