ALBUM REVIEW: Matthew Ryan Lowery - Haunted Hallways
**This article originally appeared in our September 2026 issue**
Photo provided
“While the artwork of Haunted Hallways might evoke a Halloween record full of spooky sounds like creaking doors, wolf howls, and witch cackles, instead what you’ll find is a record of great rock and roll.”
I first became aware of Haunted Hallways, the latest full-length album from Matthew Ryan Lowery, when he sent me the vinyl in the mail. When I received it, I didn’t anticipate that I would be reviewing it. I just gave it a spin, same as I do whenever anyone sends me physical media. It was probably seconds into the first song that I made the decision to pitch this to the editors.
While the artwork of Haunted Hallways might evoke a Halloween record full of spooky sounds like creaking doors, wolf howls, and witch cackles, instead what you’ll find is a record of great rock and roll. Haunted Hallways would be great to play at any party, Halloween-themed or not.
Wasting no time, the album kicks off with “Friends With the Devil,” a raucous, fast, riff-heavy tune. It has elements of rockabilly that are so expertly crafted, if you told me that it was a cover of a Carl Perkins deep cut, or even Jon Spencer, I might have believed you. To take a classic style such as rockabilly and form it into something original and engaging to a modern audience takes real talent.
From “Friends With the Devil,” the album rolls into “Party to the Grave,” another upbeat bopper that was released as a single in 2024 and features some really great saxophone throughout.
“Alone in New York City” takes a bit of a departure from the rockabilly swing of the first two tracks and delivers what is quite possibly my favorite song on the album. “Well you can take any advice you want but I know this much is clear,” growls Lowery on this punchy rocker with more than a dash of an old-school country attitude. “Alone in New York City” is nearly perfect in its structure and urgency. It would be just as impactful whether it was on stage with a full band or sitting alone with an acoustic guitar.
Next up is “Cherry Cigarettes,” starting with an upbeat, riff-forward groove. “Cherry cigarettes. Lipstick on my neck,” wails Lowery. The tempo shifts slightly down about 20 seconds in. The mood of the song has become just a few shades darker, blurring the line deftly between punk and emo.
Much like watching a film that is perfectly paced, there’s no down time on this album. Each song, while standing on their own merits, work so well together.
In a perfect one-two punch, the album closes out with “Ghost On My Shoulder,” and “Starting Over,” which are the two slowest songs on the record; much like a cool down after a particularly grueling workout.
“Ghost On My Shoulder” is a gritty, reggae-infused number with the melancholy refrain, “Go away, ghost on my shoulder, go away,” giving it an eerie elegance that sets it apart.
The album ends with “Starting Over,” another slow jam with no shortage of rock and roll spirit. The song starts with a four-on-the-floor drumbeat and a simple bass and piano combo. By the time it reaches the end, it’s a thumping cacophony of harmonious voices and instruments.
“I know thunder, and I know rain. I know sadness, baby, and I know pain,” regales Lowery on the final chorus. It is a serious sentiment with a positive message, and a perfect way to wrap up this party album.
You can listen to Haunted Hallways on Spotify or wherever you stream music.
