motel void

Jesse Blake Rundle is an independent musician based in Boise, Idaho – I don’t know too many artists from Idaho; honestly, only a few come to mind. One of them is Built to Spill, one of my all-time favorites. And just recently, I interviewed a new band called Catholic Magic. So I guess I’ve been having some good luck with Idaho lately!

Rundle’s new album, Wait, Sky, is a 12-track journey released via Doe Records. The opening piece, begin, perfect, is a short, ambient half-minute of field recordings – a subtle, meditative prelude. It flows seamlessly into depose, and from the very first notes, you can tell you’re in for something special. The production is stripped-down yet incredibly alive – it feels like Rundle is playing right there on a front porch while you’re quietly listening nearby. Sonically, it lands somewhere between the raw intimacy of Nick Drake and the early works of José González.

But this isn’t just simple folk. As the song progresses, Rundle blends in textures, noise, and synths that lend the track a more experimental and occasionally unsettling edge – and it works beautifully. depose even briefly shifts into an indie rock groove, managing to pack a wide range of moods and dynamics into just five minutes.

The next track, lost, moves into more melancholic, nostalgic territory. Rundle’s signature shifts in mood, instrumentation, and tempo keep everything dynamic and engaging – there’s always something just around the corner.

One of my personal highlights is knife, the fourth track, which leans more into Americana and reminds me a bit of the recent material from Alex G. Rundle truly shines vocally here – his voice is strong and emotionally compelling. The song also features beautiful female backing vocals.

That vocal pairing continues in anything, which stands out thanks to its playful percussion and the organic quality of the acoustic instruments. Despite its lo-fi production, the track builds into something quietly epic – a climax that feels intimate and grand all at once.

The second half of the album opens with a brief, minute-long interlude before diving into what might be the biggest “hit” on the record, light. With its tight drums, infectious melody, and Veneer-like vibe, it’s instantly captivating. The cinematic ending leads perfectly into color, a track that begins with just vocals and synths before the guitars crash in nearly two minutes later, exploding into a slightly eerie, slightly danceable finale.

Another favorite of mine is afraid – sparse, direct, and reminiscent of early Iron & Wine. The lo-fi warmth and emotional honesty make it incredibly moving. And finally, the album closes with another field recording piece, a gentle outro that feels like a quiet bow.

Drawing influence from artists like Mitski, Grizzly Bear, and Big Thief, Rundle’s latest project continues his evolution as a songwriter unafraid to dig into themes of identity, transformation, and inner conflict. His analog approach fits these songs perfectly – lo-fi, yes, but filled with nuance, texture, and feeling. Quietly ambitious, emotionally resonant, and full of small sonic surprises.

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