Louise Post (of Veruca Salt), “Sleepwalker.”

If there is one thing Louise Post does consistently, it’s craft catchy hooks with a strong guitar solo to match. It is no surprise, then, that her first solo album, Sleepwalker, has the same energy and intensity for which the Veruca Salt vocalist, guitarist and co-founder is known.

Here, we follow a journey of the downfall of a relationship. There are moments of angst, regret and apathy. It’s a stark reminder that loss and grief, no matter the context, are not linear. Post doesn’t hide away from her emotions, shifting between forgiveness and resentment.

“Guilty” weighs a breakup and the parties involved.

“I’m late for my job at the diner/ You’ll come back tonight with a shiner/ And you’ll pass out on the recliner/ And I’ll slip in the back cause I’m so/ Guilty,” Post mockingly chants.

The following track, “What About,” is a relatable ballad that has the singer pondering the what-ifs and what’s left of a life that once was.

“What about the disappearing acts, and the blood on the tracks?” she asks, trying to come to terms with change.

“All Messed Up” immediately sounds different, exchanging in-your-face guitar-led rock for slower and pensive pop-rock balladry, synths and all. Listeners don’t get to stay in this headspace for long, however, as “Killer” is a sassy Veruca-Salt-esque garage rock or even grunge anthem. Post’s voice is strong both lyrically (she’s written multiple albums’ worth of ) and stronger than ever physically.

The difference with Sleepwalker is that it’s an intimate look at Louise Post’s personal life. The vulnerability is what makes this body of work that much more meaningful. Her experience, including the nasty bits, make the good moments that much sweeter.

Post has that sleepwalking was a part of her childhood as a response to her parents’ divorce. The haunting nature of “All These. Years” captures that state beautifully with her softly and longingly reminiscing about the happy memories in the midst of an otherwise messy and unpleasant situation. Her voice echos over the instrumental, rising in intensity as it ascends to a faint whisper by the end.

The last three songs on the album grow more optimistic (even the titles give this away: “Don’t Give Up,” “God I Know” and “The Way We Live”). They bounce between dry sarcasm and sincerity, a common theme in Post’s lyrics. “Sorry I’m not a better human, a better hero,” she sings.

This album is a cathartic journey of soul-searching and healing through the grieving process.
As Louise Post herself sings on the closing song, “That’s the way we live, and we’re really good at that.”

Whether it’s a reference to her parents, her own relationships or both, there’s no doubt these songs will resonate. Life is quite a ride, as is Sleepwalker.

Follow writer Vera Maksymiuk at Twitter.com/veramaksymiuk.