Night Auditor’s Soul Junk LP refines the band’s sound to a masterful swan song
by JUSTIN CERVANTES
Since their 2015 debut record, Drugzdilla EP, Night Auditor has strived to innovate and experiment. As the band writes in their bandcamp bio, Night Auditor has interest in “psychedelics, soul, R&B., hip-hop, doo-wop, noise, and synth pop.” However, at the core of Soul Junk LP, as the name implies, is soul — the love child of R&B, jazz, and gospel. Though, Night Auditor focuses on the first two parents more than the awkward third.
Omar Al Jamar AKA Night Auditor
Whether it’s the booming performance from vocalist Omar Al Jamar in “Desertwiles,” or the sharp saxophone solo at the end of “Million Dollar Hustle,” Night Auditor is undoubtedly anchored to soul as the foundation for their sound. Any and all experimentation only serves to flavor that foundation, which it does well.
Yet, there is a strong poignancy in Soul Junk LP. This is not driven by the record’s songs themselves, but by the fact that Night Auditor’s self-proclaimed final project is the perfection of the band’s sound. Unfortunately, Soul Junk is the final project from Night Auditor, but it is undoubtedly their best, too.
While the first half of Soul Junk is playful and experimental, as seen in the opening “Cane Sugar,” the record progressively sheds its experimental flavor for refinement. This refinement can best be seen in “Desertwiles,” a track remade from Night Auditor’s Drugzdilla EP. In its first incarnation, the track (then titled as “Desert Wiles”) plays a more psychedelic instrumental, followed by higher-pitched vocals that seem to whisper more than sing. In Soul Junk, however,
the track is more traditional and heavy, with deepening vocals that catch the ears better. The remake is superior to the original in every way. Granted, it was refined over six years, after all.
drugdzilla album art