Written over the course of some wild gypsy adventures driven by a creative and insatiably curious mind, Russ Robson’s debut album Suitcase Coffin was recorded in the summer of 2015, in White Rock, British Columbia. Replete with sounds and lyrics reminiscent of wayward souls such as the late Hank Williams, the album is a testament to the never-ending wanderings characteristic of those who leave home and never really return, and all the beauty that such a lifestyle entails.

Suitcase Coffin opens with “Drink and Fight,” a track that provides a perfect introduction to what Russ is capable of when backed by Darryl Havers (piano and organ), Goby Cat (bass), and Ed Johnson (drums). By the second track “Simple Thieves,” you begin to get a sense of the alluring harmonies that exist between this kick ass singer-songwriter and the supporting rhythm section. The third track, “Come Undone,” is considerably more minimalistic and soft. Havers’ organ in the background makes a subtle but perfect complement to Russ’ seemingly never-ending finger picking.

From here, Suitcase Coffin takes a relatively unexpected turn into the jaunty, almost bluegrass tracks “Disposition” and “Lisa Release Us.” The latter is, in my mind, one of the best examples of Russ’ vocal dynamics. His awareness of his ability to meld his lyrics with his tone is one of the best qualities of his song writing and of the album as a whole, and is perfectly complimented by the harmonies of Becca Hess. The piano solo and slide guitar displayed in “Lisa Release Us” blissfully make you feel as if you should be in some run-down bar on the streets of downtown Nashville. Roughly halfway through the album, you will find “Well Played.” Listen carefully to the layers in the song, and it becomes hard to believe how seamlessly Russ is able to meld together incredibly complex riffs.

“27 Mile” significantly changes the pace of Suitcase Coffin with unexpected yet perfectly-suited grunge influences. Switching interchangeably between genres, subtle organ and backup vocals fill in all the right spaces to make “27 Mile” a solid and well-rounded track. Next is “Shoot U If U Stay,” my personal favourite. Due to the power of Russ’ ability with simply a guitar, his voice, and his words, you don’t even realize that there is no other instrumentation in the song. “Shoot U If U Stay” is, in my mind, the best example of Russ stripped-down and in his element.

The tenth track “Head Wide Open” is so sensationally enticing, you can easily miss what Russ is actually singing about. A polished transition between two completely different styles occurs three-quarters of the way into the song, yet it maintains the unique essence that runs through the entire album. Suitcase Coffin closes with an appropriate throwback to traditional folk, the soft and simple “Tim’s Song,” which is yet another testament to Russ’ ear for beautiful audible expression.

Suitcase Coffin is the epitome of the bittersweet beauty of brilliant independent Canadian folk music that springs up in the most unsuspecting corners. If we were to give more recognition to those who write music simply for the sake of it being their most effective creative outlet, our national scene would be on fire. For me, it is the creative soul binding each song that makes Suitcase Coffin both a beautiful listen and a cohesive album. These songs were written well before the recent folk revival really kicked into gear, but despite the genre’s popularity, the album manages to retain its undefinable originality. Though Suitcase Coffin is quite long, Russ’ unparalleled song writing is its greatest strength. From jaunty country to 90s grunge, the album provides a glimpse into the mind of a promising artist capable of conveying a unique style through contrasting genres.

Give Suitcase Coffin a listen, and do your best to catch Russ in whatever local bar or open mic you can find him in. He is magnetic live.