“Rebuilding” doesn’t rush to explain itself. It doesn’t need to. The track, created by Jake Xerxes Fussell and James Elkington for Max Walker-Silverman’s film of the same name, moves with the same quiet patience as the story it supports—a man picking through the remains of his life after wildfire, loss, and displacement.
What’s striking is how naturally these two musicians step into the emotional world of the American West, despite neither of them being from there. Fussell’s deep connection to traditional song gives the music a sense of memory and continuity, while Elkington’s careful, unshowy guitar playing keeps everything grounded. On “Rebuilding,” they sound less like performers and more like witnesses, letting the scene breathe rather than telling the listener what to feel.
The song unfolds slowly, almost cautiously. Guitars drift in and out, circling each other, leaving open spaces where vocals might usually live. That silence feels intentional. Instead of lyrics spelling out grief or hope, emotion arrives through touch and timing—the slight hesitation of a note, the warmth of a chord that lingers a second longer than expected. It mirrors the film’s central character, moving forward, but unsure how fast.
There’s a gentle beauty here, but it’s never sentimental. “Rebuilding” manages to feel both close and wide open, personal yet expansive, like standing alone in a vast landscape that’s still marked by damage. You can picture empty land, temporary shelters, and the quiet moments between conversations.
As a standalone piece, the track may feel restrained, especially for listeners used to Fussell’s storytelling through lyrics. But that restraint is the point. The song doesn’t demand attention; it earns it. In keeping things small and honest, “Rebuilding” captures something deeply human—the slow, uncertain process of starting again.
About the Author
