Longboat is back with a full-length statement. Absentia, the newly released album from Longboat, is out now, and it finds the Seattle-based artist digging deep into the idea of loss from every possible angle. Rather than framing the record around one emotional narrative, Longboat builds Absentia as a collection of stories, each one examining what disappears, what remains, and how people respond when something essential is taken away.

At its core, Absentia is an album about absence, but not in a single sense. Across its tracklist, loss shows up as heartbreak, lost freedom, faded relevance, cultural erosion, political consequence, and even dark humor. Longboat has been open about the intent behind each song, but the album never feels prescriptive. Listeners are encouraged to connect in their own way, making the experience personal rather than fixed.

Musically, Absentia leans into organic instrumentation and careful arrangement. Longboat handles vocals throughout and adds soprano sax on “Who Can Stop Me Now?”, bringing an unexpected texture to one of the album’s most striking moments. He’s joined by Ryan Leyva on acoustic and electric guitars with backing vocals, Eric Verlinde on electric piano, Will Moore on bass, and James Squires on drums. The performances are tight and understated, giving the songwriting room to breathe.

The album opens with “A Hole in the Air,” a quiet but weighty reflection on the loss of a longtime partner and the emptiness that follows. From there, Absentia widens its scope. “Begin at the End” reframes loss as a necessary step toward renewal, while “Captivity” explores the loss of freedom through the imagined perspective of a wild predator. Tracks like “Down the Drain” and “Everything to Offer, Everything to Lose” turn toward social and professional fallout, examining what happens when power, money, or status disappears.

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Longboat also balances the heavier themes with sharp observation. “Style Grenade” offers a satirical look at someone obsessed with staying relevant, while “What and WHAT?” captures the cruel irony of a metal fan losing his hearing. On “What They Tell Me,” cognitive decline is approached with unexpected calm, and “Once It’s Gone” delivers a brief but cutting character study that reveals how loss can expose deeper truths.

One of the album’s most grounded moments comes with “Replaced with Nothing,” inspired by Longboat’s experience watching culturally significant buildings in Seattle torn down and left undeveloped. The track connects personal unease with a broader sense of cultural disappearance, giving the album a strong sense of place.

Closing track “Who Can Stop Me?” addresses the loss of an American election and its aftermath, focusing less on outrage and more on consequence, momentum, and uncertainty. It’s a measured ending that reinforces the album’s reflective tone.

Recorded and mixed at Studio Litho by Floyd Reitsma and mastered by Ed Brooks at Resonant Mastering, Absentia benefits from a cohesive vision. Igor Keller (Longboat himself) wrote, arranged, and produced the entire album himself, giving it a clear sense of identity from start to finish. He’s also hinted at stripped-back piano versions of select tracks, suggesting the songs may continue to evolve beyond this release.

Out now, Absentia positions Longboat as an artist unafraid to sit with discomfort and complexity. It’s a thoughtful, well-crafted album that rewards close listening and proves that sometimes the most powerful statements come from what’s missing rather than what’s said out loud.