Caleb Eberhardt, perhaps known better as his musical alias Rosehardt, knows how to take a stage. Recently that has been on Broadway, where he has been shoring up a role in An Enemy of the People alongside the likes of Jeremy Strong, Michael Imperioli, and Victoria Pedretti. While he’s been noted to steal the show with his performance there, the spotlight illuminates Rosehardt on his newest album, the world gets smaller each day it seems to shrink. A fittingly captivating title, Rosehardt covers all available ground of this world on the record, an expansive recording that proves his talent is universal. 

Eager keys open the intro track “i don’t have much time,” though Rosehardt has enough of this resource to employ a swaggering pivot from pensive, delicate songwriting and vocals to a more poppy, effervescent approach to close the track. In what time Rosehardt does have, he seems intent to make the most of it from the start. On the following track, Rosehardt effectively fuses with Masego to form a funky, infectious combination with “Baby Love,” whose steady diet of horns bring a vibrancy that is unparalleled elsewhere on twgsedists. It’s closest partner exists in “Navidson Record,” one of a number of tracks that serve as odes to Rosehardt’s muses. “~Oceana~,” written in dedication to his home of San Francisco, exemplifies the depths of his connection to place: “I truthfully just wanted to name the things I was nostalgic for,” he says of writing the track. “So as I began to write, I realized that the meter in which I was writing found its rhythm outside of rhyme, so it freed me up to do just that, list all the things I could recall in that moment about my childhood growing up in SF. Natives will recognize things like ‘sunset’, ‘kirkham, judah, irving’, ‘1 down California, 2-8 straight down 19th’... it was important to me to name things that people from SF would hear and feel connected to. It’s been so long since I've considered myself a resident of that place, ‘~Oceana~’ was my way of saying ‘I still love you. So so much’.”

In other places, Rosehardt’s love is stated plainly if not devotedly. “u remind me of the babe” is a committed ballad with no reservations; “Satellites” has a more lively pulse but emits the same vulnerability towards all loved and lost. The main theme of twgsedists is overtaken by personal growth, in whatever form that may have arrived to Rosehardt in while recording. “The specific relationships that inspired some of these songs were instrumental in helping me understand how my thirties were going to differ vastly from my twenties, just in perception alone,” Rosehardt shares. “Perception of the world. Everything felt as though it was preparing to crumble, yet your thirties are the time everyone tends to say things sort of magically come together. It makes me laugh, because it’s kind of both and it’s terrifying”.

Perhaps the best encapsulation of the album arrives in “808 SHIMMY,” a track that sees the implementation of all themes and sounds of the LP come together with balance. “I’m really happy with how anthemic this song turned out,” says Rosehardt. “Wynne Bennett and I spent a few days together and this was definitely the one we saw the full vision for as soon as she played those four main power chords. I was in LA when we wrote it, so I took a lot of inspiration from the drives I was taking. I saw a clear vision of people playing this song on long highways at night, lit up by their dashboards and headlights from other cars. It’s so visual to me. And the title comes from this image I had of the 808 bass in a song being so deep and full that it shakes the car. So…maybe crank the bass settings up when you play this as you drive.” There are few settings ill-equipped for Rosehardt’s latest collection, each song seeming to appeal to a new emotion, a new texture, a new time. In a shrinking world, it's easier to find Rosehardt at every turn.