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WHISPERHAWK LP "DECEPTION ERA" | iodine rae

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I am so incredibly stoked about this, you’ve got no idea.

Utah based indie folk rock artist Whisperhawk, AKA Michael Gross, has assembled, produced, and released a new album at precisely the right time.

If you’re unfamiliar with Gross’ work, Deception Era will be an excellent introduction. And if you know ball, then you already know that he knocked it out of the park with this one. Whichever world you’re living in (although the world where you’re a Whisperhawk fan is now inevitable), you’ll find that these tracks reflect the overall creative ethos of the project’s discography.

The album has a brisk 24 minute runtime, letting the listener cruise through each song. The steady, congruent flow of each track could be a consequence of how Deception Era came together; Gross mentioned in a livestream discussing the album that his approach to writing these songs in particular was something more spontaneous, opting to write and record as it came to him, as opposed to agonizing over the finer details. The result, I believe, is something that is thematically and aurally consistent.

The instrumentals are all composed by Gross and often reliant on acoustics, incorporating some electric guitar and bass to add texture alongside the everpresent acoustic guitar and jingling tambourine. Man, that tambourine. One of the first things that stood out to me in my first few listens of the record was how much this guy likes to use the tambourine! Ha. I love it.

The vocals are mellow and airy, lilting and almost dreamy in some places. His voice glides across the surface and disturbs the water with honest and dulcet ripples. Dips into minor chords catch your breath in your throat. He sings with a sorrow that is tangible, an all around sensory experience for the listener.

The drum tracks are artificial, but I think that the sort of tinny-ness of it adds to the atmosphere. Also, you have to commend him for putting this all together himself. The quality is really impressive, in my opinion—but not unexpected, either. If anything, it’s a testament to the fact that you don’t have to go through any studios or producers or anything to put out good music. The most important part of being a musician is BEING a musician, making music, and the rest be damned. Whisperhawk has got that down well.

Thematically, Deception Era deals in feelings of disillusionment, with tracks like “Digital Illusion” and “It’s By Design” reconciling, or perhaps merely observing, how we often detach from reality through our pursuit for dopamine and fulfilment–chasing a goalpost that continues to appear further away from us as our desires are endlessly exploited. My interpretation, anyway, is that he is describing a viciously perpetuated cycle that benefits the ruling class and serves to placate the rest of us. It’s by design that we should rely on artificial pleasantries that keep us a comfortable distance from the one percent. That distance is explored in “Shivering”, focusing on how far removed the wealthy are from the working class, and how their luxury is out of reach.

Short clips of warbled patriotic marches throughout underscore the US centrality of this theming, no doubt a reaction to current events as they unfolded around the album. The spontaneity of each track creates a microcosm of thought, an instantaneous response to the present.

deception era

The record’s lead single, “Grievance Committee”, is a definite standout—it justifies its early release with its decidedly melancholic, but poignant lyrics and strong instrumental track. There are some strong Radiohead vibes here, and I fuck with that so heavy. Actually, heavy is a good way to describe how this one feels to listen to. It’s really a ball of lead in the chest. Truly a fantastic reflection of the current ache and unease I’m sure most of us are feeling in the states.

The tracklist is also broken up by the interlude-esque track “Death Markets”, disrupting the forward momentum briefly with distorted audio and a simple, repetitive chorus that forces your attention to the message. Then, “Behind The Scenes” takes you back into that pre-established flow nicely, actually suggesting a lick of hope for better days that the other tracks don’t tend to touch on. It lets you get a breath in.

Finally, “Send In The Clowns” closes out the record in a satisfying, albeit somber way, reprising all of these themes with an apt metaphor (the clowns, of course). Really, I think it sums up my thoughts on everything: “God help us all”. This is probably my personal favorite of the bunch.

For fans, I would say that Deception Era sits comfortably amongst the rest of the Whisperhawk discography. The rest of you… Well, you should go decide that for yourself. It’s a listen that’s more than worthy of your time. He's a long-time favorite artist of mine, and I thoroughly enjoyed it, so I have a feeling that you’re gonna enjoy it, too. Don’t sleep on Whisperhawk!

(Published 6-11-26)