FGA – The Space Between Days (EP Review)

FGA is the sonic brainchild of Freddie Gibbs, a Texas-born artist who has carved a path through raw DIY roots into something both nostalgic and forward-looking. His music carries the DNA of ‘90s alternative rock while injecting enough grit and character to keep it firmly planted in the present. On The Space Between Days, Freddie leans into fuzz-drenched guitars, heavy grooves, and unfiltered emotion, delivering an EP that balances heaviness and melody in equal measure.

The record opens with What’s Wrong, a track built on a classic alt-rock riff that slowly evolves into a dreamy, melodic arrangement. The guitar tone is warm and engaging, while the rhythm section keeps the pulse steady and inviting. Freddie’s vocals call to mind the likes of Slaughter Beach, Dog, with a delivery that is understated yet expressive. The chorus has a natural catchiness that makes you want to nod along, even as the lyrics repeat and lean toward simplicity. It is a strong opener because of its atmosphere and production polish, setting the tone for what follows.

Take It Back shifts into heavier territory, introducing a slower but weighty guitar sound that hits with impact. The track has an undeniable groove that makes it danceable, though the vocals sometimes sit too far back in the mix. A touch more polish in that department would have elevated the song, but the overall production remains solid. Lyrically, it is straightforward, expressing nostalgia for the past without much poetic layering. Still, the instrumentation keeps it engaging, proving Freddie knows how to craft songs that resonate through feel rather than complexity.

The standout of the EP comes with Island Time. The opening guitar line recalls the intricate twang of Midwest emo and math rock, and it quickly establishes itself as the most compelling instrumental work on the record. Every element, the guitar, drums, and vocals, melds seamlessly here, creating a song that feels both intricate and effortless. Lines like “The rain hits the trees, I don’t feel the water on me” capture a sense of reflective detachment that suits the instrumental tone perfectly. It is polished, catchy, and arguably the high point of the collection.

Exposed raises the volume with its heaviest introduction yet, beginning with pounding drums before launching into a guitar riff reminiscent of Nirvana and Led Zeppelin. This is where Freddie’s classic rock influences shine most vividly. The vocals lean into a more traditional American rock style, and the inclusion of a guitar solo gives the song added texture and dimension. The solo, in particular, suggests that Freddie could benefit from exploring extended instrumental passages more often. While it might seem unusual to position the EP’s most aggressive track in the middle rather than at the end, it provides a jolt of energy that keeps the record from slipping into predictability.

Closing track Hitchhiker slows things down again, pairing a steady drumbeat with contemplative guitar lines. The song builds patiently, pulling the listener toward its chorus with a sense of quiet anticipation. The lyrics deal with running away and seeking freedom without knowing exactly where the road leads. Lines like “Hitchhiking away from home” and “On this journey I will roam” are direct and uncomplicated, but their honesty aligns with the song’s wandering spirit. It is a fitting conclusion that ties back into the themes of searching and escape that run throughout the EP.

Taken as a whole, The Space Between Days showcases an artist with a clear grasp of mood and texture. Freddie Gibbs may not push boundaries with lyrical depth, as the words tend to stay on the simpler side, but his musical instincts more than compensate. His guitar work is consistently strong, his arrangements are well-balanced, and the production ensures that every track feels polished without losing the raw edge that defines his sound.

SCORE / Excellent – This EP is not about intellectual complexity but about emotional release and sonic impact. It captures the spirit of the ‘90s while reimagining it for a modern audience, proving that sometimes the most effective music is the kind you can feel in your bones rather than dissect line by line.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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