Inside Chris Rusin’s Songs From A Secret Room

On Songs From A Secret Room, Chris Rusin presents a debut built from real events rather than studio narrative. After gaining early grassroots attention through his single releases, the Colorado songwriter delivers a ten-track collection that reflects the period surrounding his treatment, recovery, and decision to finally record the album he had postponed for years. Made at the Blasting Room in Fort Collins with producer Andrew Berlin, the project brings together musicians he has worked with closely and highlights his straightforward, unforced approach to writing. Across its acoustic focus and careful harmony work, the album explores partnership, memory, and personal rebuilding in a way that feels grounded and specific to Rusin’s own experience.

A Closer Look at the Songs

The opening track, “Cinders,” sets the tone for the record with fingerpicking that Chris Rusin has described as the result of experimenting until the guitar reflected the tension in the lyrics. Supported by dobro, banjo, and harmonies from Katie Wise, the song examines difficult moments in a relationship and the effort involved in moving through them. Several early reviews have highlighted its clarity and restraint, and within the album it serves as the first example of how Chris Rusin combines acoustic detail with direct, unembellished writing. “The Dark” continues in a more understated way, built around a Collings mahogany guitar, upright bass from John Paul Grigsby, cello from Russick Smith, and Civil War–style drum accents played by Shane Zweygardt. Partly inspired by the narrative approach of Dar Williams’ “February,” the song reflects on a relationship that grew apart despite appearing steady to those around it. The animated music video, created by Sri Lankan animator Nadeera, adds another layer to the storytelling connected to the track.

Other songs widen the album’s scope without shifting away from its acoustic foundation. “Flower” uses a minimal electric guitar muted with a sponge under the bridge, supported by pedal steel, hammer dulcimer, and a duet with an anonymous vocalist whose identity Chris Rusin has intentionally not revealed. The arrangement grows gradually while keeping the focus on the interplay between both vocal lines and the tension within the lyrics. “Time To Love,” written six days after Chris Rusin learned his cancer was metastatic, stands as one of the most personal moments on the album, connecting early memories with the uncertainty surrounding treatment. The final vocal take reflects the weight of that period, and income from the track supports cancer research. Songs such as “Leave It In The Snow,” “Tossed Aside,” and “What To Leave” continue the album’s emphasis on reflection, using baritone guitar, late-night session textures, and themes tied to forgiveness and personal history. Through these choices, Chris Rusin maintains a consistent acoustic atmosphere while giving each song enough detail to carry its own emotional context.

Production and Collaborators

Chris Rusin recorded Songs From A Secret Room at the Blasting Room in Fort Collins, working closely with producer Andrew Berlin, whose background includes engineering and production work with Gregory Alan Isakov and other Colorado-based artists. The sessions focused on keeping the arrangements clear and functional rather than expansive, allowing the acoustic instruments and vocal blends to carry most of the weight. Berlin adds keyboards on several tracks, but the overall production leans toward simplicity, highlighting the tone of each instrument and the space around it. This approach matches the themes found throughout the album, giving the songs the room they need without adding unnecessary layers.

The musicians supporting Chris Rusin contribute significantly to the record’s sound. Katie Wise appears across multiple tracks, adding harmonies and piano parts that give several songs a conversational feel. John Paul Grigsby provides both upright and electric bass, anchoring the arrangements without overpowering them, while Russick Smith’s cello brings depth to pieces like “The Dark.” Shane Zweygardt handles drums with a light touch, using texture more than force, which fits the overall direction of the album. Additional elements such as pedal steel, banjo, hammer dulcimer, and even theremin appear throughout, but they are used sparingly and always in service of the writing. The result is a collection where the performances feel considered rather than decorative, supporting Chris Rusin’s voice and narrative focus.

How the Record Holds Together

Across these ten songs, Chris Rusin presents an album rooted in careful writing and a steady sense of personal history. The record stays close to its acoustic foundation, using harmonies, small instrumental choices, and focused performances to support the material without distracting from it. What becomes clear when listening straight through is the consistency of tone and the intention behind each arrangement. The songs connect to the period of recovery that led him back into the studio, but they do so without leaning on dramatic storytelling or overstatement.

Instead, the strength of Songs From A Secret Room comes from how thoughtfully it is assembled. Every part feels there for a reason, from the sparse accompaniment to the contributions of the musicians who helped build the sound. Chris Rusin avoids unnecessary flourishes, choosing to keep the writing direct and the emotions unforced. The result is a debut that carries its weight quietly, relying on clarity, restraint, and lived experience to guide it.

Stream Songs From A Secret Room on Spotify, and stay tuned with Chris Rusin on Instagram.