Westside Cowboy So Much Country 'Till We Get There

Critic's Take

In a measured, observant tone typical of No Ripcord, Westside Cowboy’s So Much Country 'Till We Get There is praised for its assured songwriting and immediate charms, with opener “Strange Taxidermy” and closer “In The Morning” singled out. The reviewer leans into comparisons - Big Thief and Neil Young - to explain why the best tracks land, noting that “Strange Taxidermy” eerily evokes Neil Young while “In The Morning” closes with a wholesome campfire singalong. Concise and optimistic, the piece positions these songs as the best tracks on the EP because they showcase both influence and accessible warmth. The tone stays upbeat about the band’s prospects, suggesting the best songs hint at bigger things to come.

Key Points

• “Strange Taxidermy” is the best song because its opener evokes Neil Young and immediately signals the band’s strengths.
• The album’s core strengths are accomplished songwriting, clear influences blended into Britainicana, and warm, singalong closers.

Themes

Critic's Take

This review offers almost no track-level commentary, so there is no direct guidance on the best songs for Westside Cowboy's So Much Country 'Till We Get There. Searching for the best tracks on So Much Country 'Till We Get There in this piece yields nothing specific - the review is site boilerplate and does not single out “Strange Taxidermy”, “Can't See”, or any other song. As a result, readers looking for the best songs on the album will need to consult other sources for concrete recommendations.

Key Points

• No individual track is discussed, so no song can be identified as best from this review.
• The review provides general site information but no evaluative content about the album.

Critic's Take

Westside Cowboy feel poised for a breakthrough on So Much Country 'Till We Get There, and the best tracks make that clear. The review lauds “In The Morning” as a triumphant closer and highlights “The Wahs” for its delicious college-rock cadence and impressive drumbeat. The critic is kinder to the indie-tinged, theatrical moments than the slower opener, noting “Strange Taxidermy” as the EP's weakest instant while praising the confident fusion on “Don’t Throw Rocks”.

Key Points

• ‘In The Morning’ is the standout for its triumphant closer and striking vocal doubling.
• The EP’s core strength is its confident fusion of country roots with indie and college-rock textures.

Themes

Critic's Take

Westside Cowboy sound like an earnest attempt to fuse roots and indie pop on So Much Country 'Till We Get There, but the best songs - notably “The Wahs” and “Don’t Throw Rocks” - are where that fusion actually pays off. Roxy Macdonald praises “The Wahs” as by far the best song on the EP, a frenetic, nihilistically euphoric blast that lets each element shine. She contrasts that with the faltering opener “Strange Taxidermy” while calling “Can’t See” a solid power-pop track, making these the clearest best tracks on the record.

Key Points

• The Wahs stands out as the EP’s high point due to its frenetic energy and vivid, euphoric guitar work.
• The EP’s core strengths are its blend of roots and power-pop and a homespun DIY charm, though inconsistent vocals and authenticity issues hold it back.

Themes

Critic's Take

The band’s momentum is the point here: Westside Cowboy's So Much Country 'Till We Get There thrives on motion, and the best songs - “Strange Taxidermy” and “Don’t Throw Rocks” - show why. The reviewer hears jittery openings and breathless forward pulls rather than tidy resolutions, celebrating songs that evolve instead of finishing. That restless energy makes the best tracks feel live-wired and exciting rather than polished or overthought. In short, the standout moments are the ones that keep moving, stacking layers and refusing neat release points.

Key Points

• ‘Don’t Throw Rocks’ is best because it functions as the EP’s centrepiece, layering and intensifying without a neat resolution.
• The album’s core strength is momentum: songs that evolve, embrace imperfection, and capture live, scrappy energy.

Themes

Critic's Take

Westside Cowboy's So Much Country 'Till We Get There feels like a confident step forward, and the review points especially to “The Wahs”, “Strange Taxidermy” and “Can’t See” as the EP's best tracks. The piece relishes the band's hotchpotch charm, noting the rough guitar takes of “The Wahs” and the instrumental swells of “Strange Taxidermy” and “Don't Throw Rocks” as proof of technical poise. It also frames “Can’t See” as a Tinderbox of their self-styled Britainicana, built for a coming-of-age montage, while “In The Morning” neatly closes as a two-minute folk coda.

Key Points

• The Wahs is best for its raw guitar thrill and studio-jam immediacy.
• The EP's strengths are its controlled instrumental swells, Britainicana identity, and confident coda in In The Morning.

Themes

Critic's Take

Westside Cowboy waste no time: on So Much Country 'Till We Get There the band vindicates the buzz with vivid, concise songs that make you believe in their promise. Opener “Strange Taxidermy” is haunting and atmospheric, while “The Wahs” emerges as maybe the standout - a lean garage rocker that simmers into euphoric payoff. The reviewer's ear lingers on the layered, harmonic vocals that define both “The Wahs” and closer “In The Morning”, and the taut indie fizz of “Can't See” and “Don't Throw Rocks” keeps the short set urgent and alive. If you are searching for the best songs on So Much Country 'Till We Get There, start with “Strange Taxidermy” and “The Wahs”.

Key Points

• The Wahs is the best song because it is described as maybe the standout, with layered, harmonic vocals and a euphoric climax.
• The album's core strengths are concise, accomplished songwriting, a blend of college-rock and thoughtful folk, and memorable layered vocals packed into a brief runtime.

Themes