If there is one thing I constantly marvel at when it comes to Hurray for the Riff Raff, Alynda Segarra’s everchanging style rooted in subtlety but speaks louder the more the album spins. With 2017’s The Navigator, we saw them take a more alternative approach to some of the indie rock influence coursing beneath the instrumentals; 2022’s Life on Earth was this uniquely entrenching nature punk, or punk that feels naturalistic due to the nuanced instrumental layers getting mixed while also grasping at its surroundings for a different atmosphere to engulf it in. 2024’s The Past Is Still Alive sees Alynda Segarra return to their roots in folk country and exemplifies growth within the genre they got their start in. That growth comes from exuberant production that floods the ears with raw realism and larger-than-life constructions that help color the canvas. It adds something that an album like My Dearest Darkest Neighbor didn’t think to do, especially with it being a modest cover album. However, it stands firm as an antithesis to growth, like the country-laced Young Blood Blues, which, in turn, makes The Past Is Still Alive this ethereal experience that takes all their best qualities forward.
As with some previous albums I’ve reviewed, one element that seems to flutter my expectations significantly is the establishment with the opening track; it lets the listener grasp at some of what the realm of its music-sphere will be and allows the artists to show you what they want to say. For Alynda Segarra, it’s reflecting on their career and life while giving us something as refreshing as ever. It’s in tune with some of their best qualities and explores them more thoroughly, especially the writing and what they develop with a construct that paints a picture instead of linear theme telling. The production is meticulously crafted and doesn’t wander into distinct territories, instead operating with sheer focus where the aim is to make sure everything gets elevated. “Alibi,” the opening track, is exemplary at such with its twangy strings and folk-cemented rhythms with the percussion. The blend of such isn’t new, but this is grounded, making it feel connected to their last album, Life on Earth, and how ingrained they were with these creative descriptors and story parallels. It’s “Rosemary Tears” from Life on Earth, where the smell of rosemary becomes a dominant focal point to be keen on.
That continues here, where it doesn’t take the surroundings in their history for granted and sees it as a bonus to relaying their emotions. It’s why “Buffalo” and “Hawkmoon” next to each other add zeal, and you get lifted swiftly off your feet; they allow that creativity to shine without feeling like they are stunting popism; it’s fluid, and that continues with sheer consistency. Focusing on “Buffalo,” when one sees a buffalo in the wild, it acts as a sign of strength and unity—they use that as a focal point as some of the contrasts are delivered, like that of extinct animals. It’s about fleeting romances they want to extend longer. “Hawkmoon” explores elements of their roots and focuses on the parallels that came about between what they were told to avoid and what they became. It’s more biographical, and being so gives it some fresh air because it’s more than just linear emotions and more; Segarra wants to deliver this beautifully descriptive book and does so with captivating melodies and production. Even with some more tepid productions, it has a sobering synergy illuminating past the crevices, like with “Colossus of Roads” and “Hourglass,” where the vocals carry them past the minimalist motions of their direction.
That isn’t to discredit the work Hurray for the Riff Raff creates; however, when it’s connected with similar elements, you notice it treads smoother, like how “The World Dangerous” and “Ogalla” are tighter with its instrumentations as to shine on certain things, like “Ogalla” and its percussion and then jazzy outro. Fortunately, The Past Is Still Alive has a balance that radiates between more tempered and slower ballad-like tracks and some that are musically popping “Veviter,” where its musical complexions speak loud and radiantly through the whimsical and modestly classical country rock base. It gives us this sense of duality, where they aren’t confined to distinct genre conventions and are free-flowing with the liberty of being one’s authentic self. That country dynamic returns with the beautifully crafted “Dynamo,” which is more country-centric and lets the strings run the show. This balance radiates smoothly, and it’s a reason why some of the “lesser” aspects don’t emanate as graciously. As much as the performance encompasses that feeling of longing, it doesn’t carry such gravitas with the production. It’s about how it gets blended, and the tender “Buffalo” shows how to do so with minimalism. There’s a lot that one can unpack, but the music speaks more than just that, and it’s a leap I recommend taking.
I loved The Past Is Still Alive, and it may be an understatement; the music is so alive within its core that I couldn’t help but love the writing and much of the production. Is the album perfect? Not necessarily, as I have some minor nitpicks, and even then, it doesn’t hinder the project, instead encouraging the vocal performance as its most powerful component holding it together. It’s an album I can leave on repeat without any drawbacks, and that is enough to recommend because the journey is half the job and finishing it more rewarding than expected. It may not be for everyone, especially with a niche genre core, but it can be if you let Alynda Segarra take you away through illustrious scenes painted on a canvas.
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