The Crux by Djo // Album Review

At its core, The Crux by Djo is a heartfelt ode to the people that have shaped him, along with his family and friends that have supported him through every phase of his life. Musically, this album pays homage to many of the influences he grew up with, signaling a nostalgic return to the sounds that inspired his love for music at an early age.

Djo is the musical pseudonym for actor Joe Keery, who is best known for his work in Stranger Things. He first released music under Djo (pronounced the same as his first name) in 2019 with his debut album, Twenty Twenty. The decision to create under a stage name allowed him to separate his acting career from his music, encouraging listeners to approach his projects without any preconceived notions or expectations. His first two albums, Twenty Twenty and DECIDE, were mostly made at home alongside his close friend and frequent collaborator Adam Thein. Together, they crafted deeply personal records that were bold, experimental and introspective.

Djo was relatively low-key for a few years, until early 2024 when his song "End of Beginning" went viral on TikTok. For an independent artist, especially one with little to no promotion, to have a song blow up like that out of nowhere was huge. What made that moment even more rare is it wasn't even a newly released single, it was originally just an album track from DECIDE released two years prior. The rise that "End of Beginning" experienced is truly a testament to the unpredictable power of social media and its ability to give new life to so much amazing music. While Joe undoubtedly already had a platform as an actor, the song's rise felt like a major turning point for Djo as a musical project.

Up to that point, Joe and his band embraced sort of an on-stage persona, donning wigs and disguises to create distance between his public identity and Djo. This approach has evolved with time, leading Joe to shed the wig and the metaphorical mask, now fully owning Djo as a reflection of himself publicly. The Crux strips back every layer of who he is in such an honest and deeply personal way. "It felt like the disguise went against the core of what this process has been all about, which is trying to strip away things that are interfering with being honest," Joe said in an interview with NME.

One thing that really sets Djo apart as an artist is the incredible level of creative freedom that shines through in every song he's made in the past six years. Since music isn't something he relies on as his main job, it serves purely as a personal and artistic outlet. This allows him to approach it with a sense of spontaneity and authenticity that feels rare in an industry that is largely driven by commercial success. There's this nonchalant quality to the way Joe refers to music as a hobby or as a side project to his acting that is always so interesting to me because his three albums so far are truly some of the coolest and most exciting pieces of alternative rock music released in the past decade. He maintains a distinctly experimental edge and emotional depth in his work that feels uniquely tied to the level of creative freedom he is able to embrace with his work. Because of that, Joe stands out as a singular voice in music, while also reflecting the influences of the great artists who came before him. His artistic vision and approach to music truly set him apart from almost anyone else in today's music landscape.

For his third album, The Crux, Joe shifted gears and took a more analog approach to recording, working exclusively in a professional studio for the first time. The iconic Electric Lady Studios in New York City became the birthplace of this project, with the city serving as the backdrop to so much of what inspired this music. This album was also inspired by a period of significant life changes, going through a breakup, turning 30, moving from Los Angeles to New York, and overall trying to redefine his identity outside the context of a relationship or his career. With all of that happening in his life, Joe was able to create a record that is both deeply personal and universally resonant.

With this record, he worked again with his primary collaborator Adam Thein to craft something that stands apart from their previous work while still feeling like a natural progression for them artistically. Their first two records, Twenty Twenty and DECIDE, leaned heavily on electronic and psychedelic influences, creating a sound that was experimental and diverse. On this journey to rediscovering who he is, they ended up returning to the classic rock influences that he grew up listening to and reconnecting with the sounds that first defined him as a musician and songwriter.

"It was a process of just like growing up a little bit more and realizing that in order to be a more confident man on my own I needed to reconnect with my roots, the people in my life and I think that also meant like reconnecting to my musical roots and my community," Joe said in an interview with The Zach Sang Show. "Doing that I think was sort of the main takeaway kind of like setting myself up for like this next part of my life."

The album's lead single, "Basic Being Basic", perfectly bridges the world of DECIDE and the new chapter of Djo's artistry that The Crux represents. It captures some of the tongue-in-cheek social commentary and eclectic elements that made his earlier work so distinctive, while signaling a natural evolution in his sound. The track offers a subtle critique of internet culture and the pressures of conforming in the modern world, while blending the nonchalant humor of DECIDE with the raw, stripped-down style of The Crux.

It manages to be self-aware and funny, while also cuttingly honest and timely for the state of the world right now. It's also very obviously pointed at a specific person, just based on the specificity of the sarcastic digs, especially in the chorus. "I think you're scared of being basic, that's ironic 'cause it's reading like you're even more basic, it's not funny, it's so funny," he sings. "'Cause you're basic, just looking hot and keeping monotone and understated, nothingness won't change it". In an interview with NME, Joe called the song, "...kind of a shot fired to anyone who's trying to be of the moment."

Underneath that though, this song is about a desire for authenticity and real connection in a world obsessed with how we are being perceived at all times. Lines like "I don't want your money, I don't care for fame, I don't wanna live a life where that's my big exchange" encapsulate the ethos of the entire album and Djo as a whole, by rejecting superficiality and embracing meaningful relationships. Another standout lyric is, "It sent me reeling, still not the same, it's like my capacity to love and give has changed, I guess I'll thank you and spite your name again, the past's the past, and I'll outlast the hate to find real love that's not pretend".

On the other side of the same coin, the second single, "Delete Ya", approaches similar themes as "Basic Being Basic", but from a different angle. Together, they represent the two very distinct sides of the emotional journey that makes up The Crux. With that song, he reflects back on very specific memories that he shared with someone he once loved but now wishes he could erase. "Delete Ya" captures the lingering feelings of heartache and moments that are bittersweet and difficult to revisit. It's a very sad song, one that does a great job at depicting an emotional spiral of replaying memories in your mind of a time you wish you could forget. There's a yearning for versions of themselves that no longer exist, which he tries to come to terms with on this song. He sets the scene with the first verse, "Back in the city, no longer my home, trying to let it go, I take a walk in Hollywood, my old apartment isn't looking too good," he sings before confronting the immediate sting of nostalgia, "Then there's a lyric that in context stings, the immediate pain it brings, that song that you used to sing".

The emotional weight of the song and the time of his life that inspired a major part of this album is vividly described with the lyric, "I'm locked, she's the key, I'm a boat that's sinking, guess who's the sea". The feelings of helplessness and emotional dependence linger throughout several songs on the album, as he tries to come to terms with this part of his life being over.

"Oh God, I wish I could delete ya, 'cause nothin' can compete with ya, I'd replenish and repeat ya, one heart could beat for the two of us," Joe sings in the final chorus. "Oh, God, I wish I could release ya, wind it back and never be with ya, then I'd be happy just to meet ya, one heart could bleed for the future us, if we were young, but this is done".

That sense of emotional dependence and longing carries over into another standout moment of The Crux, as "Potion" continues to expand on themes of yearning for love, security, and a need for something deeper and lasting. The sweet and simple lyricism really shines through on this song, it has this very Beatles-esque quality to it that he draws from several times throughout this record. "'Potion' is written from like a real place of yearning honestly, like feeling alone and wanting to have like that deep unspoken connection with somebody," Joe said in an interview with The Zach Sang Show. "I'll try for all of my life just to find someone who leaves on the light for me," especially stands out as one of the most emotionally poignant lyrics on the album. The heartfelt earnestness of that beautifully reflects these universal desires of wanting to find true love and companionship in that way. "Glitz and glamour doesn't age like wine does, I'm countin' on love," he sings.

The album opens with "Lonesome Is A State Of Mind", which is a beautiful and introspective introduction to what is to come with the rest of The Crux. He describes this sense of feeling "twenty-nine and misaligned", standing at a crossroads in his life with overwhelming feelings of disconnection and uncertainty. The challenges of entering new phases of life, processing the emotional aftermath of a breakup, and confronting the weight of solitude and loneliness are all deeply explored on this song.

He has this way of writing that is so deeply personal and specific to his own life and experiences, but the message of it is something that is so relatable and can be applied to so many different situations. "I've seen this movie before, I think I've heard this song, your future's right out the door, couldn't get it wrong" is one of the many lyrical highlights that reflect the themes of self-discovery and self-realization that run throughout The Crux. "I swear I've had this dinner before, I know I've heard that song, my future's not what I thought, I think I thought it wrong," he sings in the following verse.

Sonically, "Lonesome Is A State Of Mind" marks a significant departure from where he left off with DECIDE, yet it perfectly encapsulates the shift in tone that defines this album. It feels heavier, more introspective, and deeply reflective of the emotional journey at the center of it all. The lyric "Time, it takes an edge and grinds it clean, turns a scar to a seam" embodies the album's overarching theme of rediscovering yourself and embracing the solitude, taking these setbacks in stride and turning them into something meaningful. This idea is truly the crux of it all.

Lyrically, so many songs on this album hit me so hard emotionally and are kind of everything I have ever been wanting to say without even realizing it. That feeling happens to me so many times throughout the album, these moments where a lyric suddenly puts into words the emotions I've never been able to articulate for myself. It's a rare thing to feel so seen in that way, but to find a song that has that defining power is a testament to the emotional weight that music like this can carry.

That energy is especially present in "Link", which bursts forward with an electric, driving intensity that feels reminiscent of The Strokes, layered with elements of 80's new wave influences of The Cars or Talking Heads. Joe opens the song with "I just graduated, top of my class, furthest from last, so why do I feel so bad?" He embodies the chaos and uncertainty of navigating your twenties and being fully on your own for the first time. Realizing that you have full control of your life, but also feeling overwhelmed with the fact that it's entirely up to you now to make something of it is such a universal experience for everyone at that age and I love the way he depicts that.

"Punch in, punch out, bad food, still swallow, same ripped old jeans, blind leader I'd follow, what does it say about me, what does it say about us?" he sings in the second verse. "Cat's cradle of a lifetime, is it really like this?" The chorus captures an internal struggle, like he's battling his own inner monologue. "You must do what's right, I always do what's right, black and white, I think I see a different side, tow the line." There's a palpable desire to break free from expectation, to step outside a predetermined path and forge a life that feels fully authentic.

"Egg" connects back to many of the same themes that define "Link", making it one of the most pivotal and climactic moments in the album's narrative. This continues to delve deeper into the complexities of identity, perception and inner conflict of being who you truly want to be but being paralyzed by fear. "Egg" feels reminiscent of the existentialism and depth that shaped much of DECIDE, sharing a surrealistic quality while also maintaining the same kind of hypnotic production that makes it sound so immersive. There's an underlying sense of wanting to escape who you are but realizing you can't. That inner tension builds throughout the track and culminates in one of the album's defining moments.

The storytelling in "Egg" is so striking and thought-provoking. The song takes so many turns as he faces every version of himself - his inner child, who he is to his friends, how the world sees him, and who he really is beneath everyone else's perception. The idea of being a reflection of all the people you know is at the heart of this entire album. It lays out every version of himself in that way but also presents the underlying desire to be someone else entirely.

"Back in the shell, my life in the cave, people go by, I smile and wave, but deep down inside, there's always that fear that I'm not enough, I seem cavalier," he sings in the bridge. That moment is when every doubt and every hidden insecurity rises to the surface. "I'm crawling out of my skin, saw me through the eyes of the world, could you really be that self-satisfied? Is that you? Is that the child who's afraid in you? Stop, is that you?" It's raw and direct, confronting all of the parts of yourself that you try to push away. It's a vocalization of the thoughts that linger in the back of your mind but rarely get acknowledged out loud.

One of the most important lyrics of The Crux is, "Can one be great? Can one be kind? When history shows, they're not intertwined, so what will you choose, your heart or your pride?" That's one of the most evocative lyrics I've ever heard, I am always deeply moved by it every time I listen to it. The sentiment of it echoes another powerful line from his song "Runner", "Love and hate decide, money grows and dies, people never change, but I have to try". Both lyrics explore the contradiction and persistence we must live with in a world that so often works against those ideals. At its core, "Egg" is about confronting every part of yourself, every doubt and fear, but deciding whether you'll let it define you or break out of that metaphorical shell.

As the album progresses, this theme of emotional release and letting go continues. "Fly" marks a pivotal moment of acceptance on The Crux, serving as a narrative turning point after grappling with nostalgia and the lingering familiarity of a past relationship. While the song reflects on the comfort that once came with that connection, it ultimately embraces the necessity of moving forward. "I followed every winding road and the path it took me to," Joe sings in the pre-chorus. "No, I don't look back in anger, do you?"

Sonically, "Fly" floats through dreamy, psychedelic sounds that beautifully mirror the emotional depth it carries. The quieter moments on The Crux often hold the most weight, with this track embodying a sense of rebirth and personal evolution. It explores the emotional tug-of-war of wanting to fall back into the ease of what once was, yet knowing that moving forward is essential for growth. "Falling back to her sounds so easy to me, but I must fly, fly away from her," he laments. This moment serves as a final farewell, not just to a past relationship, but to a former version of himself, while embracing the uncertainty and promise of what lies ahead.

"Fly", along with the ending moments of "Delete Ya", shape so much of the second half of The Crux in a really meaningful way. The narrative starts to shift into something brighter, more expansive, and more grounded in the clarity of moving forward. While loss and longing may define parts of life, they don't have to define the future. Instead, the latter half of the album embraces leaning on love, family, and friendships, finding comfort in the support systems that remain even after change.

Initially, during the early creation of The Crux, the main theme was going to be a breakup album, but as time went on it evolved into something so much more. It serves as such a beautiful celebration of all forms of love, in a light, yet deeply reflective run of tracks. That feeling carries through into "Charlie's Garden," a song that captures the beauty of ordinary moments, turning simple, everyday experiences into something nostalgic and meaningful. It's named after his close friend and Stranger Things co-star, Charlie Heaton, who gets a few other shoutouts throughout the album. Charlie himself even makes a spoken-word cameo in a voicemail throughout, which really brings it to life in such a fun way.

"'Charlie's Garden' is a song that captures a snapshot of my life when we were working on the show, and it's kind of top of mind," Joe said in an interview with Coup De Main Magazine. So much of The Crux comes from a place of navigating major life transitions, one being the show ending, and stepping into an entirely new phase of life. In that way, this song serves as a kind of immortalization of the years spent filming in Atlanta and the friendships that defined that chapter. The song's production and instrumentation carry the same warmth, with a distinct charm reminiscent of Paul McCartney's signature sound. It's so bright and inviting, radiating a joy that feels timeless.

That same joy carries right into "Gap Tooth Smile", which is easily one of the brightest shining moments of the entire record. I love how unapologetically direct and playful it is, the humor and confidence of it fully embodies all of the reasons why Joe such a magnetic performer and songwriter. It shines through in every lyric. "There she is, gap-tooth smile, God, how lucky can a simple man be? One life living and a cat beguiled, I know that's my future looking right back at me," he sings in the opening lines. The way he captures that kind of love and admiration is so sweet and sincere. "Anything's cool if it's done with heart" is such a beautiful sentiment for the song too.

There's so many other really great lyrics that stand out, "Makes me roly poly with her dada smile, no, I didn't say a century, I just said a while" of course is such a funny punchline, as well as the clever "Frеddie said it right, 'cause she's my killеr queen". Of course, one of the defining moments of the song is at the bridge, when he says, "I tell her all the time, how many times?" and then counts from one to twenty-nine, which is such an unexpected and funny part of the song that brings even more energy to it.

"I was just like, 'That's just kind of funny and great,' and the first time I played it for some friends, they had a good laugh. You can't change that, it's kind of amazing. And then I went back and, you know, added some things to contextualize it," Joe said in an interview with The Zach Sang Show. "That song's not about anyone actually; it's not about someone from my own life. It's just kind of like... I kind of just put myself in the place of, like, you know, I've had a partner that I really care about before. And it's a song that's just from the perspective of a person looking at their partner and being like, 'Oh my god, wow, I am so lucky.'"

The true sincerity and honesty in Joe's songwriting shine through most of all in the final three tracks on The Crux. These songs capture such a deep, unwavering love and appreciation for his family in a way that feels sentimental and incredibly powerful. Being this open and unapologetically vulnerable is one of the most important and connective things an artist can do. There's something so impactful about writing without hesitation, to be direct, specific, and unafraid to say exactly what you mean. So many of the best songwriters are able to capture such a specific experience or feeling and make it feel universal, turning personal moments into something that resonates deeply with anyone who listens. Joe does this so beautifully in these last few songs.

"Golden Line" is a song he wrote for his parents and their support of him, and the love he hopes to find himself one day because of them. "Life can bring you down, the world can be so cruel, but I still trust in love, I find that trust in you," he sings in the opening verse. "Maybe you can show me how, my intention was to make you proud, yes, it's true, I do it all for you".

The final moments of The Crux bring the album's themes full circle, with "Back On You" serving as its emotional backbone. This track stands as a testament to the deep bond Joe shares with his four sisters, an unwavering connection that defines so much of the record. "It's emotional. It's me saying exactly how I feel about my sisters," he said in an interview with Coup De Main Magazine. "It is very true to me. So if I get hit by a bus tomorrow and die, it will be nice to know that I put something out in the world that is very, very true to how I feel." All of his sisters are featured on "Back On You" and throughout the rest of the album on backing vocals, which adds so much to the sentimentality and personal connection of this music.

Opening with vocals from Brooklyn Youth Chorus, "Back On You" is introduced with a poignant message, "Come back home buddy, I remember who you are." It's a simple yet powerful lyric, setting the stage for the reflection and gratitude that make up this song. "I've known my sisters for a lifetime, I count my lucky stars that I have them 'cause everyday, they're a lifeline, an inspiration just to be a better man, that's the truth, I'd lay my life down on the line for you, that's the truth, yeah, sisters made a better brother," Joe sings in the opening lines. His words are unabashedly sincere, expressing just how much his family has shaped the man he's become. It's also a song about the power of friendship too and the people he was able to lean on in hard moments. "Things get hard, you don't know what to do, well I've got friends who never spin the truth, and they can trust in me, yeah, I'm leaning back on you," he sings in the chorus.

The beauty of "Back On You" lies in its emotional core, it truly does feel like the heart of the entire album. It was also the first song he recorded for the album, which ultimately ended up shaping so much of the music that followed. As the second to last song, it serves as a powerful way to drive home this journey of self-discovery and the people that have always been there for him. It’s a heartfelt and fitting way to end the journey of The Crux.

The Crux closes with its title track, "Crux", a song that encapsulates the central themes of the album - reflection, connection, and the journey back to oneself. "There's a crux to everything, not everybody's contemplating it," Joe sings in the opening lines, capturing the idea that life holds pivotal moments, often unnoticed. "Only you unsatisfied, I wonder who is on this island with me?" Featuring his friends and Post Animal bandmates, "Crux" carries a deep sense of gratitude and community. "The components of the song are what the song is about," Joe said in an interview with Coup De Main Magazine. "Honoring your friends and your family, and where you've come from, and just being able to give and receive symbiotically." The chorus and final lines of the song echo that sentiment, offering both a plea and a truth, "Get back to your heart, only if you give it back again."

The Crux is a stunning evolution of Djo's artistry, embedded with a fearless honesty that makes this music feel as special and meaningful as it is. There's an innate warmth to it, like it arrived at exactly the right moment. The familiarity and instant connection I felt to so much of this music is undeniable. There's something to be said about an artist saying exactly what they mean and fully committing to their vision without holding anything back. This is some of the best songwriting I've ever heard from Joe, with each track intricately woven together to form such a powerful narrative. Stepping beyond purely electronic production and embracing more vintage influences, the result is lush and expansive, yet still distinctly Djo.