It’s been somewhere around four years since Logan Pilcher’s last album. He certainly hasn’t been silent, between a couple singles, collab tracks, and a separate release with Coyco. But Pilcher isn’t content to simply settle for parts and pieces; his work has always had a larger scope. There’s a veneer of accessible folk pop, and certainly, these songs do have general appeal. But pick away at Pilcher’s mind and there are larger, cosmic questions at play. He sees each release as part of his creative legacy. “I wanna be just like George Harrison and live forever in my songs,” he notes. There had been hints of a full album going back a year or two at this point, but Pilcher is not one to rush things. And between multiple relocations, a growing numbers of side projects, and his work with other artists, he’s had a lot keeping him busy.

Beautiful Løser is first and foremost a testament to Pilcher’s skills as a producer. It’s polished, professional, and layered with ornamental nuance. But the album avoids feeling too far from his live experience, sticking tightly toward his sentimental brand of Americana-tinged indie pop. The tracks blend honest lyricism with simplistic lyrical themes. It’s clear that love and marriage are a big theme, but rest assured, Pilcher reaches beyond writing about his wife and into themes of self-destruction, loneliness, and longing for the future. While Coyco’s America Avenue was built from the onset with a conceptual backstory, Pilcher’s latest album isn’t as conceptual or cohesive; instead, it feels like a series of related vignettes of self-reflection from the past and present, all tied around the album’s title – and the consequent reality that even the so-called losers can find hope and love.

Pilcher’s slow and steady release cycle has led to a something many modern musicians face – a bulk of the album was released as singles, leaving only a couple tracks to pad things out. And while it’s true that listeners can still enjoy songs they’ve heard before, there is a psychological impact for the average casual listener who may be tempted to jump right into the new tracks and forego the rest on a first play. In fact, the quality of the album ultimately is contingent upon these new songs. I’m not sure exactly what the optimal release strategy is, but it’s worth having an artist consider how a song is best enjoyed: on its own or as a piece of a larger puzzle.

That said, the album in its final form is a good update to Pilcher’s resume. “Maybe It’ll Be This Summer” opens with a bit of an alt-country flavor and wrestles with the battle against time and self. I don’t know how to describe the lead guitar line other than Pilcheresque; he has a knack for staccato-based riffs that feel like droplets of music rain splashing on the ground. Pilcher talks about the longing to reignite his passions once again and finding the drive to make it happen. I can’t help but wonder if the reference to a girl being “stuck inside a starry night” is in regards to his wife (whose art is sold at his shows for those interested).

“Creatures,” the song Pilcher once debated ever releasing, ended up finding its place as a standout single and finds an early spot on the track list. “True love’s not invincible,” he notes, going on to address the difficulty of having to carry someone’s emotional and psychological burdens – and understanding your own limits in supporting another person. Musically, it’s got a nice groove at play and it’s definitely a personal favorite.

“Bloody and Blue” is another early-album highlight. It’s a bit more gentle and fun, with a jungle-like feeling gracing the guitar and drum parts. Pilcher talks about holding onto his wife until his knuckles are busted up, again acknowledging that relationships are not just chocolates and roses. The track’s final-act crescendo is moving as Pilcher cries, “When I love you, don’t panic. That’s just my body in a box.” The intersection between our mortality and our relationships is complex and can be painful to consider, but Pilcher is always thinking about legacy. Here, he hopes his love will outlast his life.

“Tornado Arms” and “NYE” are two staples in the back half of the record. Both were released as singles, though they both take different approaches. The first is a lesson in how ruining your life can be instantaneous but changing for the better is a more concentrated and consistent effort. “People have been ruining their own lives ever since Adam and Eve,” Pilcher quips, highlighting how we seem to have an innate ability of for self-destruction. Still, he notes that for the sake of his marriage, he has a reason to press forward. “NYE” sits on the end of the spectrum of when things don’t work out and you’re spending holidays alone, moments when each house with laughter and cheer seems to be taunting you. It’s a bit of whiplash following a song that seems to hint at success, but then again, when has life ever been a constant upward trajectory? Both of these songs hit pretty close to home as far as themes go and listeners will really see the emotional range of Pilcher’s writing at this point.

As far as singles go, “Milk” is certainly the weak point. It’s a track that seems to blend metaphors of carnivals and vampires who consume love alongside a fitting circus-type musical arrangement. My biggest gripe is none of these things in particular; namely it’s that even on a fairly diverse album, it feels weirdly out of place. Pilcher definitely took a risk on this one, and, even if it’s a bit of a confusing addition from my standpoint, it’s still evidence that he’s not afraid to branch out and take a gamble on different ideas.

Regarding newer songs, “Dangerous Beautiful Thing” is a conceptual echo of its compatriots, showing the rough edges of love with the comparison of danger and beauty and how they can often intermingle. There’s definitely a bit of a Ryan Adams mood at play, making this right on par with the other singles.

“Gøød Afternøøn” is an appropriately Beatles-esue instrumental number that leads into closer “George Harrison”. I’m always torn on interlude tracks and if they should simply be tacked on as extended intros or outros in many cases, but there’s something about the glockenspiel and distorted, unintelligible vocals here that do give this short track its own identity. I’m not sure what’s going on with the “ø” in the song title, and the same goes for the album title (as far as I’m aware, most previous mentions just had a standard “o”).

Of course, we can’t overlook the album’s final song, “George Harrison”. In my opinion, a great album will start and end on high notes. I can confidently say that Pilcher’s latest work sees success on both ends. Where the album begins in a start of rediscovery and longing, it ends in confidence and forward momentum. What once seemed lost has been recovered. Some questions have been answered. But it’s still an aspiration, not an achieved reality. This might not be an album specifically about tension, but it’s definitely an album that acknowledges it. But it’d be unfair to end in a dissonant moment, even if just conceptually. For Pilcher, his sentiments are his promise to leave behind songs that outlive him.

It is genuinely strange to think that this is only Pilcher’s second proper album thus far, and after the first one was stunted by the pandemic response, it’s great to see he finally has opportunities to play out the material live. There are plenty of gems to behold: “Maybe It’ll Be This Summer” is a quintessential first track; “Creatures” and “NYE” rank high as far as singles go; Pilcher’s relational woes off his first record have receded to give way to the complexity of real commitment; the production is incredible as far as indie artists go. Many love songs only show the bright side, but Pilcher isn’t afraid to put the hard topics on the table. Ultimately, his approach is more confessional than preachy, and his whole persona is anything but obtuse. Beautiful Løser is a polished effort that manages to one-up the standards for independent production, love song construction, and similar subjects. It’s not perfect, and there are definitely a few quirks here and there, but it’s incredible step forward for Pilcher, especially as he continues to grow his clientele for production.