With “Old is New,” The Muster Point Project delivers a rich, thought-provoking body of work that blends indie rock authenticity with folk, Americana, and a touch of alt-country flair. The album—crafted by Canadian multi-instrumentalist and singer-songwriter Kevin Franco—feels like both a love letter to the golden age of rock and a commentary on today’s ever-changing musical landscape. Splitting his time between Calgary, Canada, and Santiago, Chile, Franco brings a worldly sensibility to his sound, grounding heartfelt lyrics in warm, organic instrumentation.
At its heart, “Old is New” is about relationships—those we share with others, and perhaps more importantly, the ones we maintain with ourselves. Across thirteen songs, Franco explores love, betrayal, joy, and introspection with a lyrical honesty that feels both familiar and fresh. It’s music for thinkers, dreamers, and those still trying to make sense of it all—especially “the little things,” as Franco puts it, like the reality of streaming revenue in today’s industry.
Musically, the album doesn’t sit neatly in one genre, and that’s exactly its charm. It “nearly falls into the indie rock column,” as Franco admits, “but straddles Americana, folk rock, and maybe a little pop.” The result is a sound that feels lived-in yet adventurous, nostalgic yet forward-thinking. Franco’s voice—steady, soulful, and unpretentious—anchors the eclectic mix, while his songwriting keeps listeners engaged from start to finish.
Two tracks in particular stand out as emotional anchors for the album. “Alone Again,” an unreleased gem, captures the sting of betrayal through stripped-down instrumentation and poignant storytelling. It’s the kind of song that lingers, evoking classic heartbreak ballads without ever feeling derivative. Then there’s “I Can Only Cry,” which Franco describes as “a brand-new take on the typical country song.” It takes familiar country tropes—loss, reflection, longing—and reimagines them through an indie rock lens, resulting in something both intimate and cinematic.
The production, handled primarily by Darryll McFadyen (known for his work with Belle & Sebastian and Simple Minds), elevates the project with a polished yet organic sound. McFadyen’s touch ensures that each song breathes, allowing the instrumentation—acoustic guitars, layered harmonies, subtle percussion—to shine without overshadowing the emotional core. Contributions from studio musicians Marcelo Effori and Oleg Pisarenko add depth and texture, rounding out the album’s sonic landscape beautifully.
For vinyl enthusiasts, Franco has included two exclusive bonus tracks that will “never see the light of day on streaming services.” It’s a nod to old-school music lovers and a clever commentary on how digital culture has reshaped the way we experience albums. That move—like the album title itself—feels symbolic: sometimes, the best way forward is to revisit the past.
Ultimately, “Old is New” isn’t just an album—it’s a reminder that timeless songwriting and honest storytelling still matter. Franco’s ability to blend genres while maintaining a clear artistic identity is what makes The Muster Point Project so compelling. It’s indie rock with heart, substance, and a touch of nostalgia for the days when music was more about connection than algorithms.
In “Old is New,” The Muster Point Project succeeds in keeping the home fires of indie rock burning bright—while making sense of the little things along the way.
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