Adjustable Mustard - Denatured Blue (Full Album) Adjustable Mustard, both as a sound and a concept, emerged out of Auburn, Alabama's small but colorful psychedelic rock scene in 2016. The brainchild of husband and wife duo Will and Katie White, Adjustable Mustard now calls Nashville, TN home. Adjustable Mustard released its second full-length album, Denatured Blue, on November 6, 2026. The Nashville psychedelic duo turns synchronicity, winter darkness and a growing trust in the unknown into a nine-track album conceived as one continuous experience.
Sonically, Denatured Blue remains rooted in blues, country and psychedelic rock, with the San Francisco sound of the late 1960s looming especially large. Jefferson Airplane, Pink Floyd, Moby Grape and Blue Cheer are touchstones, but the record moves freely between intricate harmonic passages, swampy slide guitar, Hammond organ, fuzz-heavy riffs, piano and dreamlike ambience. The album opens with “Introduction,” a long psychedelic crescendo designed to peak on the downbeat of “The Bean,” one of the record’s most compositionally involved tracks.
“Dickerson” grew from a melody Pitts had sung to herself for years while driving Nashville’s Dickerson Pike late at night, when the traffic lights begin flashing yellow. Its swirling guitars and slide lead frame a lyric about ambition, frustration and wondering whether she will ever become a “country queen.” “Saint Andrew by the Sea” moves through winding chord changes beneath one of Pitts’ most vulnerable performances, while Side A closes with the Sabbath-like weight and fuzz of “Sadist for a Song with a Sinful Maker,” the album’s lone White lead vocal. That ending is deliberately important to the physical experience of the record.
The cacophony of “Sadist” ends Side A; and Side B opens with the quiet upright- piano introduction of “Need to Work on Me.” Denatured Blue’s structure was not imposed from the beginning so much as recognized as the record evolved. “Need to Work on Me” turns inward, confronting the feeling of being stuck and the uncertainty of trying to build a life in music. “Redemption,” a song Pitts had carried for years, follows with an emotional vocal set against interweaving guitar lines and wah pedal. The instrumental “How About” moves from folk-like acoustic guitar into tom-heavy drums, sequencers and heavier rock textures before the record finally descends into “Far Away,” a sparse, reverb-soaked comedown filled with slide-guitar “whale noises.”
1. Introduction
2. The Bean
3. Dickerson
4. Saint Andrew by the Sea
5. Sadist for a Song with a Sinful Maker
6. Need to Work on Me
7. Redemption
8. How About
9. Far Away
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