Longboat’s ‘Word Gets Around’ is a Minimalist New Anthem for the Digital Age
Igor Keller’s Longboat has been a quietly relentless presence in indie music, with a discography that stretches far beyond what most artists dare to attempt. But with Word Gets Around, his 32nd album, Keller doesn’t just continue his streak—he sharpens it into a precise critique of the chaos saturating our daily lives.
The Seattle-based composer, who cut his teeth as a jazz saxophonist, has long flirted with the tension between traditional song structure and experimental minimalism. On this record, that tension becomes a potent tool for dissecting the noise—both cultural and digital—that defines 2025.
Tracks like “The Doomscroll Waltz” and “Citizen Sweatpants” take aim at the exhausting media cycles and performative rituals we find ourselves trapped in. Keller’s lyrics don’t mask their intent behind flowery metaphor; they hit you with the blunt reality of our collective burnout. “Twilight of the Publicist” skewers hollow online personas, while “Bare Minimum Society” voices the fatigue of lowered expectations in an era that feels increasingly hollow.
Despite the seriousness, the album steers clear of grandiose production. The sound is stripped-back, dry, and precise—every note and vocal carefully measured to convey unease without overwhelming the listener. Producer Ryan Leyva’s subtle backing vocals and Ed Brooks’ mastering work together to ground the album firmly in an indie-pop aesthetic that eschews polish for honesty.
Longboat’s creative process is just as intriguing as the album itself. Keller remarks, “After 32 albums, I’m still not sure where my song ideas come from. Sometimes a phrase sticks in my head, and it becomes a song title. Other times, it’s something that bothers me or makes me laugh.” That sense of mystery and spontaneity fuels Word Gets Around’s unpredictable yet cohesive mood.
Perhaps the most personal moment arrives with “Yelltown,” a reflection on his Belltown neighborhood’s shift from quirky cool to a dystopian echo chamber. “It’s pretty tragic all around,” Keller admits. The song embodies a resigned sadness that fits the album’s overarching tone—one of cultural exhaustion but also stubborn observation.
Keller’s work ethic is astonishing; he plans to record 11 albums this year alone. Yet Word Gets Around never feels like a rushed experiment. Instead, it is a distilled statement—a necessary commentary wrapped in minimalism that challenges listeners to confront the noise around them without tuning out.
In an era drowning in distraction, Longboat offers a piercing, unvarnished soundtrack. This is music not to escape into, but to think through.