The self-titled debut album from Damion Suomi on P is for Panda Records is an uproarious, honest folk-fusion – combining different elements of gritty acoustic guitar, whiskey-bent lyrics and a charming pop sensibility that welcomes multiple listens without getting trite or old.

Suomi (pronounced Sue-Me) runs the gamut of the singer/songwriter genre, at times giving us foot-stomping, hand-clapping shout-alongs, (“Sunday Morning,” San Francisco”), and other times seducing us with intriguing, emotional ballads (“Archer Woman”) that really showcase his musical chops.

For Suomi, his self titled album isn’t searching for grandiose themes or lofty methods of self-actualization. Rather, Suomi’s themes focus on what any good folk artist should—booze, broken hearts, and, well, that’s about it. But it’s done in such an honest way that doesn’t take itself too seriously, adding a complex, candid layer that’s stripped down to just bare, unapologetic emotion.

For instance, “What a Wonderful Game” gives a bare, uncomfortable take on a purely sexual relationship. The sing-along drinking tune “Sunday Morning,” with a twangy, acoustic upstroke guitar part, boasts “I went to dinner with a bottle of wine / I drank it all in record time / I thought we’d stop / But we drank all the way ‘till Sunday morning / We drank ‘cause we had nothin’ else to do.”

On one level it’s a folky bar song, inviting clinking glasses and arm-around-your-buddy chanting. However, “Sunday Morning” has the caveat “I thought that we’d stop,” which suggests vulnerability and a sense that this isn’t as leisurely and rebellious as one might think. It’s a somber drinking song disguised as reckless amusement. Or “Ghost,” which grieves about a long lost lover in a frank and evocatively depressing lamentation: “I’m not one for whiskey / But I’ll drink it down tonight / I am not a liar / But I’ll sing one here tonight / I don’t love you / I don’t love you anymore / And I will sing it ‘till it’s true.”

Suomi’s country sensibilities also show through on “Ghost” and a slew of other songs on the album, which add an extra coat to his musical paint. “Waltz” borrows classic country guitar and “One More Time” actually steals its melody directly from Hank Williams Sr.’s “Cold Cold Heart,” which is no doubt on purpose, a throwback to country music’s ultimate, hauntingly sad song writer.

Musically, though, Suomi’s vocals are reminiscent of R.E.M. or the Counting Crows, which really show through on “Archer Woman,” and “Darwin, Jesus, the Devil and Me.”

His style goes from the classic country roots of a simple fiddle and acoustic guitar to alt-country flair like that of the Wallflowers of Chris Isaac, using full-band instrumentation, interesting bass grooves and minor chords. Add to it punk-rock sing-a-longs and overt alcoholic references in the vein of “Against Me” (“San Francisco,” “Sunday Morning,” “Oh Won’t you Please”), and you have a unique and charming take on folk music.

And after the bottles are finished, ash-trays overflowed and the bar-lights have come on, Suomi leaves us with at least some hint of a positive message, despite the whole album spent drinking and feeling sorry for himself.

On the song “Save Your Ass,” he confidently asserts, “Nobody’s ‘gonna save your ass except for you,” suggesting that nobody can take charge of your own life and fight your personal demons but yourself.

Then again, the closing song on the album orders to “never trust the tongue of a female,” which shows the cycle isn’t broken at all, and Suomi is back to his old, self depreciating, broken hearted tricks again.

-Tyler Branson is an English senior.