Skittish’s “The Rightest Wrong” is a great track that immediately grabs your attention with its infectious energy and clever dynamics. This song shuffles along with brushed percussion, accompanied by stings in the background that blend seamlessly with a fast-paced guitar track. However, it’s the chorus that truly elevates the track, taking the listener to a whole different sonic realm, where emotions run deep and the story unfolds.
The theme of the song revolves around the ending of a relationship, and as the lyrics suggest, with time and distance, everything starts to come into focus. The melancholic undertones in the music complement the introspective narrative, allowing the listener to connect with the emotions conveyed.
Although Skittish is currently based in Los Angeles, the roots of this musical project have always been firmly planted in Minnesota. “Midwest Handshake,” the song’s parent album, was crafted by Jeff Noller during a two-month visit back to his home state. The result is a musical journey that combines the essence of the Midwest with a unique blend of mid-20th Century musical styles.
Skittish’s music evokes a sense of nostalgia, reminiscent of a time when songs of a bygone era would find a home at the Grand Ol’ Opry in 1960. Yet, there’s a contemporary twist as well, akin to 1980’s emo punks who’ve been handed orchestral instruments. The lyrics touch on modern topics such as entrenched politics, media obsession, and the challenges of dating and dealing with online deception. Through the lens of Skittish’s music, these contemporary concerns are presented with a retro veneer, suggesting that despite the changing times, we continue to grapple with the same fundamental human desires and challenges.
Skittish’s sonic palette is richly layered, thanks in part to a cast of talented collaborators. Gracie Huffman contributes additional lead vocals, while Chris Lahn provides exquisite string and brass orchestration. Renowned drummer Brian Griffin, known for his work with artists like Lana Del Rey and Dolly Parton, lends his skills to three songs, with Jeremy Krueth and Mark O’Day rounding out the percussion section. The album also prominently features stand-up bass and cello, masterfully played by Stephen Murray and Jacqueline Ultan, respectively. Ben Etter, with his analog wonderland, contributes additional mixing and production to infuse the track with just the right amount of muscle-shoals-esque grit.
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