Jake Hoffman of The Gray Vines is now ready to launch his solo career. “Reflection” shows how life is one big reflection on itself.
Rewind to 2018. Jake Hoffman was the remarkably talented frontman of The Gray Vines, a powerhouse punk rock band based in Jersey. Their single, “See Me,” got its fair share of attention with the release of its companion EP, Obscene. Now, four years later, HOFFMAN is back and launching a solo career with his individual outlook and musical faculties on full display through his solo debut, “Reflection.” His voice, which was the driving force of the band, still carries the same weight as before. However, he is the main songwriter and the only person behind every instrument on every track. For new HOFFMAN listeners, “Reflection” is a strong first impression, especially since it’s the title track from his upcoming fall album, Reflection. Those returning from The Gray Vines fanbase, if you thought you’d heard the best of HOFFMAN, you’ve barely scratched the surface; “Reflection” exposes his virtuosity more than ever.
“Reflection” is of great depth when you consider that life is just one great reflection on itself, with unexpectedly curved balls and sometimes inexplicable signs leading them in directions predestined by all that s has already passed. Whether realized or not, we create our own realities to some degree, and that overarching theme is delivered so artistically through the song. The bass dominates with its relentless darkness partially lit by high-pitched guitar stingers. Both propel the instrumental forward with the booming bass drum which is accompanied by its more subtle drum counterparts. Ultimately, the lyrics make the message blatantly known: “What is given will come back endlessly – maybe not like I expect to be repaid, but it always comes back.”
The concept of “what goes around, comes back” allows the music video “Reflection” to feel like a two-and-a-half-minute film encapsulating the nature of life. Every event and action affects us in the long run to the point that it can be haunting, and the very idea of that wakes HOFFMAN up at the start of the visual. As reflections of himself follow him wherever he goes, HOFFMAN remains vigilant and watches where he has been and where he is going. There is also something urgent and mysteriously palpable in the countdown spotted in the various greeting cards, signed from the past, present and future. Ultimately, the karma that catches up with it is guaranteed to hook viewers into the plot and its message.
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