Jordan Corso remains as autobiographical as ever on his third and latest album Cruiser, a take on his new 30-something personality and relentless life on the road. Corso packed up yet again after a few years in New York City — previously residing in Los Angeles and San Francisco — to take an A&R job in East Asia. Abroad he found himself coasting (or, as he describes it, “cruising” ) through laughable stress and the everyday unknowns of culture shock. He spent most of his nights (as always) holed up recording demos, tackling the constant “How did I get here?” moments, from days filled with laughter and liquor-fueled adventure, and others of longing. Eventually, nothing surprised Corso anymore, and life turned rose-colored
This attitude was injected into Cruiser — his aloofness, optimism, sarcasm. Cruiser possesses the charm of Doc Sportello, the sincerity of Ernest Hemingway, and the bullshit of Jay Gatsby.
The demos and ideas Corso gathered abroad were returned home and filtered through the dark mind of one of the most unknown and reclusive producers in Los Angeles, Bret Leinen. Brian Lee Hughes unapologetically handed the keys of his Silver Lake home (as long as Corso agreed to guard his famous art collection) to the two opposites, and they locked themselves inside for weeks, only communicating with their cocaine dealer and Dan Sung Sa’s delivery driver (both of whom may or may not guest on the album).