Little Oil - Twelve Songs (2024)

Enter Little Oil, who truly understands what it means to stir up the waters with their anomalous and unteachable talent, leaving listeners hard-pressed to pick a favorite song. For this unique artist, no stone is left unturned when it comes to experimenting with sound and melody to create something out of the ordinary.

And on his brand new album, Twelve Songs — which officially dropped today March 28th — he does all of this and more.

With a deceptively simple title like that, it’s easy to predict the length of said album, but the predictability stops there; in true Little Oil fashion, each track boasts its own unique blend of genres — much of which is steeped in some bit of psychedelia — yet it connects to a cohesive theme (much like his previous album).

While listening, you might note some musical influences including but not limited to: Violent Femmes, Tom Waits, and Django Reinhardt to name a few.

The album’s kaleidoscopic piano-driven opening track, “Sweet Fruit Jar”, has the jaunty feel of a New Orleans night on the town. Lyrical simplicity resonates, working wonders in this song which commends the act of getting drunk and just enjoying life as it comes, or “taking it all in.” It’s a fantastic opening track to vacuum the listener in, and one that demands a replay or five.

Historically hated Biblical figure Judas is given a chance at redemption in Little Oil’s second track, “Hey Judas.” The percussive groove, piano, and acoustic guitar are reminiscent of a track that might be found on The Beatles’ White Album despite the near-same title as a different Fab Four hit. This sophomore track displays a quirky upbeat melody on par with the opener, as the lyrics offer a take on the possibility of forgiveness despite wrongdoing.

A gentler but still semi-psych folk track, “We’re Lost,” has this writer’s pick for best song of the album. Coming off the high of the first two tracks, this one slows the pace a bit. From the first note of the bright, shimmering acoustic guitar coupled with angelic harp, I was transported to a mystical place of the artist’s own making, finding myself “lost” in a land of varied musical flourishes and gentle vocal progressions. Nostalgic harmonica accentuates this track, echoing a lonesome yet endearing sound.

“Is That You?” is another notable track, as it shoots out of a cannon with its untethered, foot-stomping rhythm that builds and swells until the song reaches its titillating climax. This one also caught my ear due to its violin accompaniment, adding a sweet richness beneath the hard driving acoustic guitar and drum grooves.

Perfect for spring, chirping songbirds set the tone of the closing track, “Fig Leaf Crown”, which feels like walking through a peaceful garden. Little Oil’s signature vocals lull the listener into a submissive state, only for the intoxicating and nimble instrumental harmonies to wake you back up with their lively ebbs and flows. Masterful composition blends shades of instrumental color, giving the album one final inventive flourish.

A man of many talents, lead singer and songwriter Victor Mitrani’s artistry reaches beyond the realm of music – his caricature-like portraiture is on full display on his Instagram profile. The Bay Area artist has been honing his musical prowess since 2012.

Having tried his hand at life in a band, and subsequently feeling the pull to develop his own independent sound, Mitrani saw the fulfillment of his desire to act as “totalitarian dictator of his musical world” with the release of his debut self-titled album in 2021.

A self-taught songwriter, regarding his process, Mitrani says, “You make it up as you go along, and refine it.” With such a unique combination of influences, Little Oil’s multifarious sound is nothing short of inspiring and inventive. Each track is just as energetic and/or resonating as the last, bursting with infectious spirit. Twelve Songs harnesses an adventurous and colorful mosaic of sound, and is one of our favorite albums of the year thus far.