Guest Directors - Before You Get Broken

​Guest Directors

Before You Get Broken
self-released; 2026

TOP ALBUMS

By Dan Weston

There is a certain expectation that comes with musicians who have histories tied to heavier, more abrasive scenes. Gary Thorstensen and Julie D could have easily leaned into that lineage, but Guest Directors sidestep it in a way that feels intentional. What I hear on Before You Get Broken is a band reshaping those instincts into something more elastic, where melody carries as much weight as texture. The connection they formed in Seattle back in 2014 comes through as a kind of quiet alignment rather than a collision, and the result pulls in traces of power pop and 60s folk rock without ever sounding referential for its own sake. It gives the record a wider emotional reach than the usual shoegaze framing might suggest.

With Rian Turner on drums and Charles Russo on bass, the band sounds locked into a shared language. The DIY approach is not something they advertise, it is baked into how these songs unfold and how the record sustains its momentum.

“Meet You on the Land” opens things, and within the first thirty seconds I knew I was on board. The track sits somewhere between psychedelic haze and shoegaze density, but it stays grounded through its groove. The vocals are smooth and sit comfortably in the mix, while the drumming gives the song a sense of lift. It carries an indie rock sensibility that reminded me of Yo La Tengo which was a breath of fresh air.

“You Are Never” follows with a confidence that comes from strong songwriting and a performance that leans into a live feel. “Now I Know” pushes harder, with big distorted guitars and long reverb tails stretching the vocals outward. The drumming stays active here, keeping the track from drifting too far into atmosphere. “Just Not Today” brought to mind Foo Fighters in its directness, while “So Many Somedays” moves into something warmer and more restrained, closer in spirit to Low.

​“Restore Your Soul” leans into a hypnotic pull, with guitar work that echoes the blurred edges of My Bloody Valentine, and “Blame Pandora” shifts the tone with something more upbeat and immediate. The back half keeps that momentum going through “At the Gate,” before “What Shapes They Take” closes the album with its most intense stretch. It is a fitting end, balancing weight and release while still leaving space for some quieter, more reflective moments.

​I kept thinking about how this record connects to the music I grew up with. It gave me the same kind of feeling I had listening to Belle and Sebastian and Pavement, where strong songwriting and a distinct point of view carried everything forward. This album lands as something genuine. It sounds like musicians in a room, shaping ideas in real time, and the songs hold up because of it.

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