Seattle-based artist Longboat, the project of composer and producer Igor Keller, delivers his latest album, Word Gets Around, with a clear sense of purpose. Known for avoiding mainstream tropes, Longboat pushes deeper into commentary-driven songwriting, drawing a sharp line between distraction and critique.
The album, out now, marks Longboat’s 33rd release but carries the urgency of an artist just beginning to stake a more public claim. Formerly a jazz saxophonist, Igor Keller now uses his Longboat alias to frame a growing catalog of solo recordings. With Word Gets Around, he leans further into minimalism—tight arrangements, dry vocals, and sharp lyrics that reflect a disillusioned but observant point of view.
Thematically, the album tackles the overload of modern life: media churn, digital exhaustion, and cultural stagnation. Tracks like “The Doomscroll Waltz” and “Citizen Sweatpants” are straightforward in their focus, resisting metaphor in favor of plainspoken commentary. “Twilight of the Publicist” and “Bare Minimum Society” take aim at performative culture and low expectations, drawing from the daily static of internet life. Even the production—handled by Ryan Leyva at XX Audio—feels intentionally unembellished.
There are no sweeping hooks here, no choruses designed to stick in your head. Longboat’s strength lies in tone and precision. The lyrics are deliberate, chosen for impact, not melody. It’s music that doesn’t try to win you over—it simply states what it sees.
Backing vocals from Leyva add subtle depth, and the mastering by Ed Brooks keeps everything grounded. The result is a record that feels quiet in volume but loud in intent. At 11 albums planned for 2025, Keller’s work ethic is ambitious, but Word Gets Around doesn’t feel rushed. If anything, it feels distilled—less like a chapter in a larger project and more like a standalone piece with a clear message.
Listen to Word Gets Around here: