High on the Hog, the twelve-track album by Alberta-based songwriter Mogipbob (the creative moniker of Jason Graves), feels like sitting at a kitchen table long after dinner, listening to someone tell stories that are funny, flawed, reflective, and unmistakably real. Blending folk and country storytelling with touches of 70s pop and funk, the album creates a sound world that is relaxed, groove-friendly, and deeply approachable. It’s the kind of record that invites you in. From the first notes, you sense that this isn’t about spectacle or trend-chasing, but about character, voice, and the quiet power of well-told stories. There’s humour here, but also heart. There’s nostalgia, but not sentimentality. Most importantly, there’s a conversational honesty that makes the album feel lived-in rather than constructed.
One of the most compelling aspects of High on the Hog is its emotional accessibility. These songs don’t feel like performances designed for distance; they feel like conversations designed for closeness. Mogipbob writes about everyday observations, routines, small-town humour, and reflective moments that sit somewhere between laughter and introspection. The album carries the spirit of traditional folk and country songwriting—clear melodies, narrative lyrics, and strong hooks—while layering in subtle funk rhythms and 70s pop warmth that give the music a gentle, timeless groove. Acoustic textures sit comfortably beside soulful chord changes and rhythmic basslines, creating a sonic palette that feels both familiar and fresh. It’s music that values clarity of story over polish, intimacy over perfection, and sincerity over spectacle.
The title track, “High on the Hog,” opens the album with immediate charm, establishing the record’s tone with charismatic vocal presence and addictive melodic flow. It feels welcoming, relaxed, and confident without being flashy. From there, the album begins to reveal its playful side through tracks like “Blame the Cat,” a witty, groove-fueled piece driven by driving beats and clever lyrical humour. Mogipbob’s unique storytelling voice shines here—dry, observational, and quietly funny without forcing punchlines. There’s a natural rhythm to his writing that makes the humour feel organic rather than performative. Similarly, songs like “She’s Too Hairy for Me,” “Even Steven,” and “Soap on a Rope” lean into everyday absurdities and human quirks, transforming ordinary moments into memorable musical narratives. These tracks don’t mock their subjects—they humanise them, turning small experiences into shared laughter.
At the same time, the album knows when to slow down and breathe. Tracks like “Eileen,” “The Longest Goodbye,” and “When Summer Fades” introduce a more reflective emotional palette, showing Mogipbob’s ability to shift from humour to quiet introspection without losing authenticity. “The Longest Goodbye” in particular stands out for its evolving arrangement and carefully crafted chord progressions, creating a sense of emotional movement and depth that feels cinematic without being overproduced. It’s a song that unfolds rather than explodes, letting emotion build naturally through structure and harmony. “When Summer Fades,” the closing track, brings the album to a gentle, beautiful conclusion—melancholic, warm, and reflective, offering a sense of closure that feels earned rather than imposed.
Musically, High on the Hog thrives in its fusion of tradition and groove. Folk and country phrasing anchor the album, but the subtle funk influences and 70s pop textures add rhythmic life and warmth. The basslines often carry a soulful pulse, while chord progressions lean into richness rather than simplicity. This creates a listening experience that feels relaxed but never flat, comfortable but never boring. There’s movement in the music, even when the tempos slow. The grooves don’t demand attention, but support the stories. That balance is crucial—nothing overwhelms the songwriting, and nothing feels underdeveloped. Every musical choice serves the narrative.
One of the most intriguing dimensions of the project is its creative process. While Mogipbob writes all the songs himself, the music and vocals are performed using AI tools, allowing him to focus fully on songwriting, lyrics, and melody. Rather than feeling artificial or detached, this approach actually reinforces the album’s core identity: the focus is on ideas, storytelling, and emotional connection. The technology becomes a tool, not the point. What stands out is that the heart of the album is unmistakably human. The humour, the vulnerability, the observational details, the emotional pacing—all of it feels grounded in lived experience. This creates a fascinating contrast: modern production methods supporting deeply traditional storytelling values.
Tracks like “Gimme That Dirty Bird” showcase this blend beautifully, pairing punchy instrumentation with vibrant storytelling that feels playful and energetic without losing lyrical substance. “Them There Blazers” and “Unemotional Rollercoaster” continue this theme, mixing groove with narrative in ways that feel effortless. The album never feels like a collection of disconnected songs, but feels like a cohesive world. Each track adds a new perspective, a new voice, a new emotional colour, while still belonging to the same sonic and narrative universe.
What truly defines High on the Hog is its tone. This is not an album built on irony, cynicism, or detachment. Even when the songs are funny, there’s warmth behind the humour. Even when they’re reflective, there’s light behind the sadness. Mogipbob writes with empathy—for himself, for others, for the everyday characters that populate his songs. There’s no sense of superiority in the storytelling, only observation and understanding. This makes the album deeply relatable. You don’t need to share the same background, location, or experiences to connect with these songs, but just need to recognise the human emotions inside them.
By the time the album closes, High on the Hog feels less like a playlist and more like a portrait of a songwriter, a way of life, and a mindset. It’s not chasing cultural relevance, but creating personal resonance. In a music landscape often dominated by speed, noise, and surface-level impact, Mogipbob offers something quietly radical: patience, sincerity, and story-first songwriting. The album invites listeners to slow down, listen closely, and enjoy music that values meaning over momentum.
Ultimately, High on the Hog stands as a warm, witty, and deeply human album—one that balances tradition and experimentation, humour and reflection, simplicity and depth. It proves that strong songwriting, honest storytelling, and emotional clarity will always matter more than trends or technology. Whether you’re drawn in by the playful humour, the reflective ballads, the grooving basslines, or the conversational lyrics, there’s something here that feels personal. It’s an album that speaks, and you listen. And when it’s over, it leaves you with the feeling that you’ve spent time with someone real, someone honest, and someone worth hearing again.
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