Mansion on the Hill’s Eye Hustling is the second release from this quintet and moves the goalposts further out following their well-received first album. There’s a satisfying breadth of diversity characterizing the ten tracks included on Eye Hustling that nonetheless coalesces around a stable, specific vision of Mansion on the Hill rather than some yet unfulfilled ideal. You hear how collected, confident, and skilled Mansion on the Hill is with each of the album’s songs though, naturally, some stand out more from the pack than others. Whatever weakness you may or may not hear cast aside, Eye Hustling is a more than respectable follow-up – it’s a decisive move into the band’s ever-brightening future.
Kicking the collection off with its title track is definitely a sign of confidence. If Mansion on the Hill intends the album’s title track to serve as a major moment or definitive statement for what follows, then “Eye Hustling” serves notice that this isn’t a band looking to dick around with their listeners. They have a songwriting agenda and kick ample ass executing it. “Eye Hustling” certainly doesn’t lack energy. It shows Mansion on the Hill coming out of their corner with a wild look in their eye and ready to rumble.
They can shift gears fast and in a convincing manner. “The Girl (With the Flower Child Name)” moves Mansion on the Hill into a much more laidback sound. Pop sensibilities predominate during this track and there’s an audible folk-like influence running through the song as well. Strands of rock, however, are never far from the surface. They venture even further afield from their rock strengths, confidently, with the song “Bluest Skyes”. It’s a mood piece, of sorts, reliant on lyrical guitar and a lighter touch from each band member than their rockier efforts demand.
Biting lead guitar leads the way throughout “Chips and Divots”, particularly with the climatic solo taken near the song’s conclusion. The pace of this track, as well, proves to be a shrewd decision in the aftermath of two relatively sedate numbers. It illustrates the band’s command of album dynamics and the value of effective track listing. Harmonica, inklings of grand cinematic pop, and a sharp turn into singer/songwriter fare set “Another Boy Wonder” apart from its surroundings. This song likewise benefits from the elegiac air of the performance, the sense of exhausted resignation, and heartbreak. It’s definitely one of the album’s songs that solidifies their claim to songwriting excellence.
“When” builds on its acoustic touches. It doesn’t, however, rely on the same languid wafting embodying much of the aforementioned song’s trajectory. Mansion on the Hill tethers “When” to more solid, definite melodic ground. There’s something on Eye Hustling for everyone who appreciates several regions of the musical spectrum. Above all, however, if you value top-drawer songwriting and a committed performance from the album’s principles, Mansion on the Hill’s Eye Hustling will impress you and keep drawing you back for more. They’ve crafted a lasting achievement with this release that bodes well for the band’s future.
Garth Thomas