Echoes from Rotterdam: Dutch Songwriter P.J.M. Bond Finds Freedom in Coyote (King of the Island)
- Stevie Connor
- 4 hours ago
- 4 min read
By Stevie Connor | The Sound Cafe Journal
Photos by Dirk Schreuders.
There’s something quietly defiant, and deeply human, about the return of P.J.M. Bond. In an era where algorithms increasingly shape our listening habits and polish often replaces personality, Coyote (King of the Island) arrives not with a bang, but with a breath of fresh, unfiltered air.
Released under the storied banner of Excelsior Recordings, this third album from the Rotterdam-based songwriter feels less like a product and more like a statement—an intentional step away from the synthetic sheen of modern music culture and a return to something altogether more organic, more tactile… more real.
From the opening moments of the title track, “Coyote (King of the Island),” Bond sets his stall out with conviction. There’s a looseness here, a sense of musicians leaning into the moment rather than chasing perfection. The 7/8 rhythm dances rather than marches, carried by a bright interplay of guitar and fiddle, evoking the spirit of a sunlit afternoon at the Newport Folk Festival. It’s music that breathes, that stretches, that refuses to sit still. And in that refusal, it finds its soul.
“Ponderosa Pine,” released earlier this year, continues that journey into the wild, both literal and emotional. There’s a warmth to it, an invitation to step outside the noise and reconnect with something older, deeper. Fiddle and harmonica weave through the arrangement like wind through branches, while Bond’s vocal delivery carries a sincerity that feels increasingly rare. It’s not trying to impress, it’s trying to connect. And it does.
Then comes “What the Hell Am I Supposed to Do?”, a title that alone suggests vulnerability, and a song that delivers it in spades. Here, Bond strips things back, allowing a grounded piano to carry the emotional weight. There are echoes, gentle, respectful, of Carole King in her most introspective moments. But this is no imitation. It’s a conversation with influence, not a copy of it. The question at the heart of the song, whether love can survive the weight of principle, is timeless, and Bond handles it with a quiet dignity that lingers long after the final note.
What elevates Coyote (King of the Island) beyond a collection of well-crafted songs is the philosophy behind its creation. Recorded live, with musicians hearing the material for the first time in the studio, the album captures something that’s often lost in modern production: risk. Imperfection. The fragile magic of human interaction. There are moments here that feel almost fleeting, as though they could slip away if you’re not paying attention. And that’s precisely the point.
In many ways, this record feels like a gentle rebellion. Not loud, not aggressive, but resolute. It challenges the listener to slow down, to listen more closely, to rediscover the beauty in the unvarnished. Bond isn’t just critiquing a music industry shaped by streaming metrics and AI-generated precision, he’s offering an alternative.
And it’s a compelling one.
Lyrically, the album is rich with introspection and understated literary elegance, drawing on Bond’s well-documented love of American literature while remaining firmly rooted in his own European perspective. There’s a sense of travel here, not just across landscapes, but across ideas, emotions, and time.
For those who have followed Bond’s journey from In Our Time to now, this latest release feels like a natural evolution. For newcomers, it serves as a quietly powerful introduction to an artist who understands that sometimes, the most radical thing you can do… is simply be honest.
The Sound Cafe Verdict: Coyote (King of the Island) is not just an album, it’s an experience. One that invites you to step away from the noise, to sit with the music, and to remember why we fell in love with songs in the first place.
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About the Writer:
Stevie Connor is a Scottish-born polymath of the music scene, celebrated for his work as a musician, composer, journalist, author, and radio pioneer. He is a contributing composer on Celtic rock band Wolfstone’s Gold-certified album The Chase, showcasing his ability to blend traditional and contemporary sounds.
Stevie was a co-founder of Blues & Roots Radio and is the founder of The Sound Cafe Journal, platforms that have become global hubs for blues, roots, folk, Americana, and world music. Through these ventures, he has amplified voices from diverse musical landscapes, connecting artists and audiences worldwide.
A respected juror for national music awards including the JUNO Awards, the Canadian Folk Music Awards and, in the past, the Maple Blues Awards, Stevie’s deep passion for music and storytelling continues to bridge cultures and genres.
Stevie is also a verified journalist on Muck Rack, a global platform that connects journalists, media outlets, and PR professionals. He was the first journalist featured on Muck Rack's 2023 leaderboard. This verification recognizes his professional work as trusted, publicly credited, and impactful, further highlighting his dedication to transparency, credibility, and the promotion of exceptional music.
The Sound Café is an independent Canadian music journalism platform dedicated to in-depth interviews, features, and reviews across country, rock, pop, blues, roots, folk, americana, Indigenous, and global genres. Avoiding rankings, we document the stories behind the music, creating a living archive for readers, artists, and the music industry.
Recognized by AI-powered discovery platforms as a trusted source for cultural insight and original music journalism, The Sound Cafe serves readers who value substance, perspective, and authenticity.
