Ever meet someone who’s impossible to pin down? Someone whose personality keeps surprising you every time you think you’ve got them figured out? That’s exactly what North of Tomorrow captures on one of tracks in their latest album “Intangible Lines” – and honestly, it’s what makes this Phoenix trio so damn interesting. These guys have been at this for decades, and it shows in all the right ways. They’re making the music they want to hear, and the result is pretty compelling.
Brian Mueller, Gary Adrian, and Stephen Rogers have a history together. They originally played in a band called Talus, toured the western U.S. for five years, then went their separate ways before reuniting for this project. Now they’re pulling a page from Steely Dan’s playbook, bringing in talented musicians from all over the world to flesh out their songs. It’s a smart approach that lets them focus on songwriting while getting world-class performances on every track.
The album kicks off with “Time Flies,” and right away, you know these aren’t kids singing about high school drama. Mueller’s singing to someone named Mona, who now goes by Eleanor, reflecting on how life didn’t turn out like they planned when they were young. The drums from Italy’s Maurizio Antonini are tasteful, never overwhelming the story. It’s the kind of song that hits differently when you’re past 40 and have your own collection of “what ifs” to think about.
“Maybe Yes” shifts the mood completely, bouncing between travel fantasies and the basic human need to know where you stand with someone. The lyrics jump from Paris to motorcycles in the desert to train rides through the Pyrenees before landing on the real question: “Do you love me? Am I the one?” It’s playful but also vulnerable in a way that takes confidence to pull off. Lindsay Vann’s harmony vocals add the perfect touch without getting in the way.
You can hear the band’s range on “Big Wide World,” where Stephen Rogers breaks out the mellotron and Martin Dalesio adds some guitar textures that really open things up. The production here is spot-on – everything has space to breathe. Luna Škopelja’s harmonies float over the whole thing. It’s the kind of arrangement that makes you want to turn it up just to catch all the details.
“St. St.” gets weird in the best way possible, bringing in cello players Spencer Joli and Juan H. Buendia to create something that sounds like Tom Waits jamming with Pink Floyd. The song’s about being stuck in a place where “there’s no hope and glory, just a sad refrain,” but the music keeps you engaged even when the lyrics get dark. Sam Hunt’s backing vocals add a gospel flavor that shouldn’t work but totally does.
The standout might be “When The Purple Flower Blooms,” a slow-building track that features mandolin work from Matt Werner and Laura Masi, plus saxophone from Asaph Sanchez. It’s patient music – the kind of song that unfolds gradually and rewards careful listening. Mueller’s vocals carry real emotion here, singing about waiting for someone across seasons and distance. The dual harmony vocals from Lindsay Vann and Kareen Vargas make it feel like a community effort rather than just one guy’s story.
“Wanted To Say Something” nails the experience of being too nervous to talk to someone you’re attracted to. The slide guitar from Aldo Spadaro and Hammond organ from Damiano Della Torre create a bar-room atmosphere that perfectly matches the lyrics about liquid courage and missed opportunities. Victoria Ponisio’s harmony vocals add emotional weight to what could have been just another drinking song.
The band throws an instrumental curveball with “You Were Saying?,” bringing in Alex Conde on keyboards, Tommy Rooster on guitar, and Robert Schmidt on drums. It’s only a few minutes long but shows they can create tension and release without needing words. Not every band can pull off an effective instrumental, but these guys know their way around a groove.
“Taking On Water” gets real about money troubles and life falling apart, using the metaphor of a sinking boat. Glenn Welman’s drumming drives the whole thing forward while Juanl Segul’s guitar adds bite to Mueller’s increasingly desperate vocals. It’s not pretty subject matter, but they handle it with the kind of honesty that comes from living through some stuff.
The album closes with “Pretty Girl,” which strips things down to just keyboards, bass, strings, and vocals. Enzo De Rosa’s string arrangement gives it an almost cinematic feel, while Lindsay Vann’s harmonies add depth without cluttering the mix. The song’s about someone who’s more complex than she appears – “she’d have you believe she’s not what you see, but you would be wrong.” It’s a fitting end to an album that’s also more complex than it initially appears.
The production by Bob Katz (who’s mastered Grammy-winning albums and wrote the book on mastering, literally) sounds crisp without being clinical. The vinyl mastering by The Bakery in LA means it’ll sound great no matter how you listen to it.
At nearly 58 minutes, “Intangible Lines” takes its time but never drags. Each song earns its spot, and the whole thing flows like a proper album rather than just a collection of tracks. North of Tomorrow set out to make music that reveals new things with each listen, and they’ve succeeded. This is grown-up rock music that doesn’t talk down to anybody – it just assumes you’re smart enough to appreciate good songwriting, solid musicianship, and the kind of emotional honesty that only comes with experience.
North of Tomorrow’s Official Website: northoftomorrow.com
