From the start, the song pulses with powerful, driving drums, setting a relentless pace that pulls you in. The instrumentation feels weightier, with deeper tones and a subtle edge that sets it apart from their past records. And while the overall mood leans heavier, Jackie Miclau’s delicate moments on the keys shine through like brief flickers of light, one of my favorite elements in any Mt. Joy song. Her touches add an almost ghostly beauty to the track, softening the intensity just enough to keep you hooked.

Lyrically, “Coyote” feels introspective, carrying a sense of isolation and longing that fits perfectly with its namesake. Matt Quinn’s vocals hold a certain urgency and grit, delivering the lines with a quiet intensity that builds as the song progresses. It’s less carefree than some of their past hits, but that shift makes it all the more compelling.

I wasn’t expecting this direction from Mt. Joy, but the more I listen to “Coyote,” the more it pulls me in. It’s moodier and more intense than their usual sound, but that shift feels natural rather than forced. The pounding drums and raw energy make it stand out, yet there are still glimpses of what I love about their music.

It’s a bold move, and I must say I do prefer their lighter, feel-good songs, but I’m excited to see them explore something different. I have a deep connection with Mt. Joy, with them being one of the first bands that I saw live and loved. I went to multiple of their last UK tour shows and am eagerly waiting for them to come back. If this track is any indication, the new album could take us on an unexpected ride.

With the album dropping in May, “Coyote” leaves us wondering what musical path Mt. Joy will take us down next. Will they continue this darker, more atmospheric direction, or is this just a glimpse of a broader sonic journey? Either way, this track proves they’re not afraid to evolve, and that’s something to be excited about.

SCORE/Good: If you enjoy moodier folk music, then this song is for you! Or if you are a lifelong fan and just like to be there for the new Mt. Joy song drops, then you will be interested in this new sonic voice they’ve created.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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One of the most stunning aspects of the song is the way he nails those high notes at the end of some of the lines; absolutely beautiful and so full of emotion. Gossett’s talent as both a lyricist and musician really shines through, proving once again that he’s a poet in musician form. The lyrics feel intensely personal and relatable, touching on themes of growing up and still feeling juvenile, craving parental validation even as an adult. 

The line “the streetlights are turning on a little early, I don’t know if I should get home” struck a chord with me. It captures that feeling of uncertainty; wondering whether you still belong to your parents the way you used to, and whether the people who loved you when you were young still feel the same way. He also touches on the poignant contrast between childhood memories and the reality of adulthood, evoking a sense of nostalgia that’s comforting, but also a little heartbreaking. 

I had the chance to catch his free show at Omeara recently and let me tell you; this song does not disappoint live. If anything, the acoustic version was even more powerful and raw than the studio cut. Hearing it live for the first time, well, I’d be lying if I said it didn’t bring me to tears. There’s something about the stripped back arrangement and the way his voice resonates through the room that makes the emotion hit that much harder. It was one of those shows that’s going to stay with me forever. 

If you’re looking for a song that perfectly balances tenderness with a sense of longing, “Like I Do” is it. Dylan Gossett continues to prove that he’s more than just a talented musician. He’s a storyteller who knows how to make you feel every word. 

Overall, “Like I Do” is more than just a song; it’s a vulnerable confession wrapped up in a beautiful melody. Dylan Gossett’s ability to turn deeply personal experiences into universally relatable art is what sets him apart as a songwriter and musician. This track not only highlights his growth as an artist but also cements his place as one of the most promising voices of his generation. I can’t wait to see where this new direction takes him.

SCORE/Outstanding: If you want to feel like you’re in the back of your parent’s pickup truck in summer, looking through childhood photo albums, this song is for you. It’s a little sad, about wanting your parents to want you the same way they did when you were younger, but it’s not an inherently sad song. If you like bittersweet country music, check out this song!

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Tyler and Harlow are clearly writing from a place in their heart that appreciates being from where they are from as they like to mention the cold weather of Atlanta a lot throughout their songs, specifically starting this EP with Sick Dogs.

Sick Dogs emulates the panic of not knowing the right thing to say with the almost nervous and questioning lyrics which is generally spread through the whole EP. This song shows the anxieties of once being known by somebody who doesn’t know you anymore; you were once known wholly and now you don’t know whether it’s even okay to speak to them anymore. Once again with the idea of texting an ex and then regretting it; their band name perfectly captures the vibe of their music. It’s almost overwhelming in the way every lyric is framed as a question, you begin to question everything you’ve ever done mid-song. It’s a pretty upbeat song during the lyrical breaks, and yet the lyrics are depressing and pessimistic, until the end where there is a hopeful tone shift. 

Next up in the EP is a gem called Barn Nursery which is an authentic and truthful song that feels like we are getting a snippet of their souls woven through the melodies; they have problems with moving on. Then it goes on to If It’s Not, which brings the idea of how naivety comes with being young and how naivety can make you uncertain about everything. 

This is carried on through 33° which presents anxieties about not knowing what your future could hold but still being naive about it. Can the same problem happen twice? You would assume so if you were a pessimist and I simply have to assume that these artists are the peak of pessimism. But the fact that their lyrics imply that the ice can’t crack twice implies that they are naive and adolescent in their ways of thinking about bad things that could happen. However,  with Death Song, this EP ends on a pretty positive and hopeful note considering everything. 

The instruments feel nostalgic to me for a time and place that I didn’t experience; they take me back to the early 2000s and the rise of midwest emo music and drinking beer you took from your dads’ collection in the basement with your friends. 

Overall, this EP is filled with ideas of being stuck in time, not being able to travel back to return to how things were before but also waiting for the same person from your past which is preventing you from moving forward into the future. In their lyrics, there is a person who is willing to change themselves for someone, at least to some extent. They perhaps grew up too soon and are stuck in a horrible place between childhood and incapability of moving on from 

bad people and bad things that have happened. So, they are stuck at this metaphorical ‘red light’ that is brought up in multiple of the songs in this EP. This EP is not one to listen to if you want to feel happy; it is a sad and pessimistic collection of music with themes of anxiety and self-doubt. 

SCORE/ GOOD: If you’d like to feel like you are a delinquent teen boy in a dingy basement drinking with your friends, look no further than this album. It’s full of concepts of anxiety about being uncertain and being stuck in the same place, not able to go back, but also not being able to move on and move forward. Although, I will say that some of their songs can feel repetitive of each other, but in my opinion, that doesn’t take away their ability to make you feel.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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You can find this album on Spotify.

Right away the first song I’d Have Grabbed You a Chair hits with a nice guitar fingerpicking motif followed by a strong male Irish voice, eventually joined by a reverb-drenched female voice. The song paints a nice picture, like the front cover of this interesting album. The song gets a little monotonous after a while, I would have thrown in a bridge at some point. But sonically, it sounds glorious.

The second song Come Down to the River has a very religious folk vibe. Nice drone sound from the cello and other instruments. It is very much in the classic gospel folk genre. Talking about cleansing souls and the devil.

Hello Forever starts with what sounds like a flute, epic, very Celtic vibe. The voice makes the listener by into the Celtic sound especially when joined by the female background singer. I really like the guitar strum here.

Everybody Got Crazy in Them starts off with a sizzling lead guitar riff. But the male and female vocals and chord progression bring this back into the folk genre. I do like the lead guitar, nicely done. This one has a nice chorus and a Texas red-dirt folk kind of feel.

Followed closely by another song about the Devil – Dear Daddy. Apparently the songwriter is fixated on this devilish theme. The song has some nice acoustic guitar lead lines, and Eoin’s voice has a drone-type feel about it. Again this song is in the Texas red-dirt folk camp of sounds.

A lonely piano kicks off the next song nicely. Maybe they should have edited out the unnecessary mic noise before the first vocal kicks in? This song is about soul torture but resolves to a nice male and female vocal chorus. The backing vocals really sound lovely in this heartfelt song. They have included a “jazzy version” of this song as the last song on the album.

Sitting by the Fire kicks off with Eoin’s droning voice over a nice acoustic instrument vibe, maybe a banjo or mandolin, singing out to his whiskey, eventually the song hits the chorus and the female singer joins in. I find the male voice interesting in that it definitely feels like a drone instrument more so than a normal voice. Maybe it’s because of the way the lyrics flow. Nice.

The next song Night Is Dark starts out with a strong acoustic guitar riff. Most of the songs on this album are “dark” both sonically and in their mystical lyrics. The words draw you into the mix. The female vocal in this song is really nice. I did not like the bridge in this song, the male voice was too far back in the mix, but it drops back ever present after the bridge through the end of the song. Again the droning nature of the male voice creates a very nice folk vibe. Celtic folk vibe.

I have noticed that I am using the word “vibe” way too much in this review! LOL. But the male voice and the instrumentation really do create quite the sonic atmosphere: very Celtic, sometimes red-dirt, very heartfelt vocals. If you like that sort of thing, and I do. If you do, check out this album!

The ninth song Gambling Again, starts off with a nice fiddle in a lower register. Another song about the devil, “my soul is an easy steal.” LOL. Too much gambling going on in this song. But again, this song fits the “vibe” of the album. Very low key and pleasant. Nice mixing, mastering, production.

I Need My Pain kicks off with piano and a flute, quickly joined by Eoin’s deep male voice. This song has a swirling vibe, there’s that word again! Maybe it’s just the way the song is mixed and the interesting instrumentation choices. I really like the bridge in this song. The flute adds a nice character to this song. “I know it sounds insane, but I need my pain.”

The eleventh song on the album is titled Dark November. The song has more of a classical feel with an arpeggiated acoustic guitar creating the song’s vibe. Oh my what has gotten in to me? LOL. But this album is all about that “vibe.” I like the shifting chord pattern throughout this song. And as a guitarist, I really appreciate the tasteful lead guitar solo in the middle. The talking vocals after the solo could be louder. But a nice song.

The last song on the album is listed as a “Jazzy Version” of the prior song Dream of You Tonight. This song is a great way to close out the album. It brings in the piano, flute, a strong acoustic guitar, the tasty lead guitar, and both vocalists like a dramatic conclusion to this tastefully produced Celtic, but modern, folk album.

SCORE/Excellent: This album is all about the “vibe” and this album has it in spades. The droning male voice and instrumentation scream out Celtic highland. If you dig that kind of modern Celtic folk sound, with very tasteful production, you’ll dig this album! Much love, Beth

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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The album begins with its namesake, “Another Day”. The song is quite funky, especially how it starts off with that bass line. The guitar work is also pretty damn good, not what I really expected. Moreover, the vocal harmonies are great, which is a feature that can be heard throughout the whole record. With “Another Day”, you get an idea of what the album is going to be like, although this track is unique, sounding like a very laid-back Red Hot Chili Peppers song.

The follow-up song, “Let It All Fall Down on Me”, is also quite nice, with a good inclusion of slide guitar, which can also be heard in other songs. The melody is also really good, but I feel like I’ve heard it in one or two other songs before. I usually have a good ear when it comes to identifying it, but I can’t put my finger on it. Nonetheless, it’s a good song.

“Rolling Back the Time” shows another reason to like this album, which is the different styles that Medd and Shaw try to incorporate in one project, and done in a way that isn’t messy. Sure, is this specific song just old fashioned rock n’ roll that we’ve heard a thousand times? Most definitely, but it’s done with a charm that’s hard to ignore, especially with the vocal harmonies. “You and Me”, which is my favorite song off the whole record, is a complete 180 from what we just heard. It’s definitely a more rustic, Appalachian style song, which is an aesthetic I’m attracted to. The instrumentals are also fantastic, the best on this record, in addition to the great production that is present throughout the record.

I want to focus on the last three songs that close off the album. “Diamond Eyes”, featuring vocals from Juan Pablo Palencia (who I believe also produced the album), is definitely one of the best here. Juan’s voice matches the samba and bossa nova style of this track, giving it the life it needed, along with the percussion and piano that wrap it all together. “Money Don’t Buy Love” is catchy for what it is. Out of this last sprint of three songs, this is my least favorite, as it essentially Medd and Shaw becoming a discount Santana (with the beginning sounding a lot like “Smooth”, and the song overall heavily reminding me of “Oye Como Va”), though a good one at that. “Rhayne”, also featuring Juan Pablo Palencia on vocals, is a really nice closer. I could say that it does have the best string arrangement out of the whole record.

The weaknesses of this album can be found towards the middle, though there is one outlier, which is the third song. “I Took the Long Way Home”, I would say, is a decent song, though I think it has some of the best guitar work on the record. However, I found the song to be quite derivative and boring overall, more so with that chorus. The worst song for me has to be “Close Your Eyes Goodnight”. Not only are the lyrics corny (which, to be fair, is also something that some of the other songs are guilty of, though not to this extent), but it’s also the music. The best way to describe it is that it’s too sweet, almost to the point of being diabetic.

The three songs that followed it are okay, but I just found them to be boring. I predicted the melody of “It’s About Life” and the way the song was going to go within five seconds of hearing it; I feel like this would be a throwaway song from the Eagles’ debut record. “Love is the Scenic Route of Life” is essentially a Jimmy Buffet song that happens to steal the melody from the Beatles’ “Yesterday”, not to mention that the guitar work carries the track. “When the Wind Blows” was just a snooze fest to me, nothing more.

Here are all of the songs ranked on a scale of 0-4:

1. Another Day – 3
2. Let It All Fall Down on Me – 3
3. I Took the Long Way Home – 2
4. Rolling Back the Time – 3
5. You and Me – 4
6. Close Your Eyes Goodnight – 1
7. It’s About Life – 2
8. Love is the Scenic Route of Life – 2
9. When the Wind Blows – 1
10. Diamond Eyes – 3
11. Money Don’t Buy Me Love – 3
12. Rhayne – 3

SCORE/Good: Overall, I don’t have much to gripe about this record, even if nothing about it strikes me as original. I don’t think Medd & Shaw really care much about originality, and I wouldn’t fault them for it. We’re talking about two dudes who have been playing music together over the better part of five decades, I think we owe them a bit of break. Besides, they gave us a record with extremely clean-sounding production, so we know that effort was put into this. This is more noted in how the duo was able to tackle several genres of music, all done with respect. All in all, this might be the most boomer album I’ve ever heard, something that a cruise for people over the age of 50 would go head over heels for, but it’s still a fun listen. Hats off to you lads, I hope to hear more from you.

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The first song Noreen starts off with an acoustic guitar, briefly, followed immediately by a very nice piano vamp and the guitar completely drops out. As a producer, I would have skipped the acoustic guitar intro and just gone straight into the piano vamp, which makes up the bulk of the song. I also find that the bridge of the song and its instrumentation don’t really fit the rest of the song. But the piano riffs are worth a listen. The vocals aren’t bad and sound like you might expect from a performative church folk singer. The bridge in the song is a bit disconcerting.

The second song once has a very nice sounding fingerpicked acoustic guitar. The sound mix on the acoustic guitar is superb and I really like the string sections interspersed throughout the track. The song has a plaintive melancholy feel.

My favorite song on the EP is the third song Child, which Mark wrote to his children. “When you were very young, I thought I could overcome the dangers in this world.” I find this track to be the best performance on the EP. I like it when the bass and drums kick in. Sort of a Jim Croce type feel about the song and the voice matches nicely.

Wander, the fourth song also has a very melancholy feel accompanied by a nicely captured fingerpicked acoustic tasty guitar progression. The feel of the voice and instrumentation create a song that gently flows by when you give it a listen.

Another fingerpicked acoustic guitar opens the fifth song Stars, which reminds me a bit of Puff the Magic Dragon. Perhaps that’s just the acoustic guitar causing that impression. The sing-song vocals fit nicely over the acoustic guitar’s progression.

Finally, the last song Bethlehem, starts off with a piano riff. This song has a heavier deeper feel. Like we are talking about the anointed one. Definitely has a church vibe. The piano has a very gospel-like feel about it. And I like it when the horns kick in.

SCORE/Good: I can’t rate this EP as Outstanding or Excellent as it just does not sound as good as many of the expertly produced albums that we review on this site. But I think it is good for what it is – a folk album in the older folk tradition. Think of folk singers like Noel Paul Stuckey or groups like Peter, Paul, and Mary, and you’ll have a general idea of the sound of this new EP. Overall, with the exception of the first song Noreen, I think the songwriting on this release is really nice and fits the style PerlinSing is aiming for. If you’re in the mood for a clean sounding straight-ahead folk album with nicely crafted songs, give it a listen.

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Her newest release, ‘To Leave Or Be Left Behind’, is another delectable addition to her repertoire of releases. It was entirely written and performed by her, herself. The tracks were recorded, mixed and mastered by Ryan Wasoba. Additional credits go to Kate Wakefield for her cello work on ‘Crash’, ‘Across This City’, ‘Part of You’ and her vocals on ‘Part of You’ as well, as well as Olive Schulte, Adri Odenthal and Michaela Kuba for their group vocals on ‘Gender Apathetic (Lately)’.

Throughout the album, I have to commend the apparent general trend that goes on. It is filled with vocals as well as lyrics that are pretty personal, and hard-hitting to not just the artist’s experience but many other people as well. It is immensely relatable to people who have to go through similar strife, coming out victorious- in the form of transforming their metaphorical scars into formidable bodies of work.

The songs with cello work in it, especially the ones credited to Kate Wakefield, definitely help to elevate the listening experience by adding an additional sonic experience. It enhances the experience, by giving it a more multi-dimensional feel.

My problem though, is the tone of the vocalist’s vocals with a primarily isolate soundscape. When the additional quirks of ‘extra instrumentation’ is not present, I don’t think it presents itself with much harmony in tandem with a more mellow acoustic instrumentation. I think there is a charm to the artist’s vocal tone and delivery though, I just think it suits a more robust and richer instrumentation in order to accentuate her ferocity and intent in terms of delivering the message. I admit though, that this parallel may also be intentionally stylistic- there is a niche for stronger vocals being put against a mellower soundscape for the lyrics to hit harder.

Overall, I do sense a very ‘authentic’ and non-commercial vibe from the artist itself, and I think that demands intense praise. It’s quite rare to get this form of artistry these days, that oscillate between the lines of folk and rock. If you have an ability to empathize with people, you’d definitely be able to connect with the album- that’s the only requirement you need to appreciate this body of work.

Score/Good: ‘To Leave or Be Left Behind’ is a raw, stripped down and intense album that combines the charm of authenticity with stories that will definitely resonate with people. It has a very poignant role in the world of music.

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Jeremy has been writing far more songs than his band could ever use, so he decided to release some collections of his home demos a couple of years ago on Bandcamp and Soundcloud. His first official solo album, Trouble For Another Day, was released in 2023, and now he follows up with a sophomore effort, Going Back to Where It All Began.

So, without further ado, let’s take a look at Jeremy’s sophomore release.

It’s worth noting that Jeremy wrote and recorded the entire album at home. On this project, we can clearly see Jeremy taking a lyrically focused approach, drawing influence from artists like Mac DeMarco, Bob Dylan, Neil Young, and others.

From the first seconds of the album, Jeremy leans into the soft aesthetic of country-pop, which later evolves into a blend of alternative folk. It’s hard to pin this album to just one genre. Jeremy took a diverse approach here; for example, in the title track, Going Back to Where It All Began, there’s a clear country influence with a dynamic touch. Then on the next track, he switches it up entirely, leaning into an epic fusion of chamber-pop and soft rock.

This mixture of styles is captivating, particularly on the first half of the tracklist, where the sincerity and genuineness really shine through. Sailor’s Warning, one of my personal favorites, is a perfect example—with punchy drums that instantly stick in your head.

This variety allows Jeremy to explore different directions with ease. Whether he’s leaning into heartfelt, reflective tracks or delivering upbeat cuts, he finds a way to make it work.

I also loved the incorporation of Bethany Hilliard’s background vocals. They add a beautiful layer to the soundscapes Jeremy creates. In tracks like Losing Your Touch, her harmonies provide a fresh breath of air and another dimension to the music. It’s always a great touch when artists bring in these complementary voices, and here it works perfectly.

Jeremy’s vocals are also worth highlighting. At first, they might seem straightforward, but as the album progresses, his versatility comes through. While there are moments where the vocals or some of the instrumentals feel a little repetitive, his ability to navigate a mix of folk, pop, and alternative styles keeps things interesting and genuine.

Score/Excellent: Jeremy Hillard’s sophomore album is engaging, fresh, and heartfelt. His lyrical focus and the variety of styles make this record stand out. Tracks like Sailor’s Warning and Probably The Prodigal blend chamber-pop and folk into something that feels both nostalgic and new. While not flawless, this album is a great follow-up to his debut and shows just how much Jeremy continues to grow as an artist.

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Paul Ryan is an indie folk musician who emerged from the Midlands in England in early 2022. He performed in his home city of Birmingham before heading to London, where he would consistently play material from his first solo album, The Divine Sky. This exact album is the album that we’ll expand upon in this article.

His warm guitar melodies merged with striking vocals and lyrics, have often led to comparisons with notable names in the folk genre such as Bob Dylan, Nick Drake, Yusuf/Cat Stevens and many more. ‘The Divine Sky’ is a statement of intent, showcasing an ability to transform emotions into music. The general artistic intent behind the album is as such: ‘Dizziest Stars’ sets the tone for the rest of the albums impactful, and atmospheric folk sound, with apparent melancholy & desperation. This is mixed with a flourish of rock/pop songs, ‘Wish Come True’, ‘Pictured for July’ and ‘Danielle’ – each sound like they could very well be plucked from Rubber Soul or Revolver, as Ryan’s vocal arrangements and jangly guitar sounds replicates the catchy Beatles-esque style.

The album ends with the gorgeous guitar picking pattern featured on the dreamy ‘Violet Rays’, a blend of poetry and music, mirroring the title track ‘The Divine Sky’, which has been highly praised for its unique style and lyrical quality. The album commentates on many subjects such as globalisation, totalitarianism, segregation, exploitation and many other themes, marking it as a major release.

I’ll definitely say that this album is like a little gem frozen in time. It’s quite rare to hear anyone make music akin to this genre in this day and age. It has a very aged quality to it, but also ‘fresh’ in a distinct way. His voice definitely has the timbre of folk musicians from the past, with a glide and an earthiness to it. It has a storytelling quality to it, but it also bears similarity to a lot of raw, stripped-down genres. Another interesting quirk of the vocalist’s style is definitely the detail put towards vocal layering in certain tracks, as it definitely helps to give the songs a more holistic feel, echoing the sentiment of the singer even more.

The instrumentation within this album is quite sparse and not too over-the-top, but in mere acoustic instrumentation, it has a very strong edge to it. The guitars are played with an intensity enough to cover the whole soundscape, mixed with the vocals itself. That itself is a power and a strength, as it usually takes multiple layers of instrumentation to convey a message. Then again, this fits the expectations of the genre itself- ostentatiousness is definitely its antithesis.

Otherwise, ‘The Divine Sky’ has a rustic and pure feeling to it. Each song speaks out to the listener like the chapters in a storybook, delivering each carefully cultivated story through its songwriting and blatant ‘naturalistic’ acoustic folk soundscape. It has all the elements of the human touch, defining taking the listener back to the ground, with its earthy intent. In some aspects of its compositional techniques, a lot of the songs sound like the MTV Unplugged version of a lot of Grunge songs, appealing to some tinges of energy and excitation.

However, this album truly lacks musical variability to appeal to audiences that do not solely want to hear a track from a singular thematic perspective. You don’t have to stray too far of your genre to maintain a sense of decorum and honour to your genre, but have aspects that set you apart from your influences. This release does sound like it is ‘too stuck’ in a certain aesthetic and musical time period, without any grounds for innovation.

It has the ability to definitely tug at your heartstrings in certain instances with a little ‘jolt’ of a chorus or pre-chorus here and there, but besides that, it is pretty much a standard and highly predictable release that will definitely tickle the fancy of someone looking for a calm yet unabridged version of folk artistry. For the amount of instruments involved in the release too, it is also decently mastered, so feel free to blast the album with your headphones and enter the world of Paul Ryan.

Score/Good: Paul Ryan graces the world with his raw, rustic and wholesome sound with ‘The Divine Sky’. The album definitely pays homage to tracks within the genre of indie folk music, and serves as a good vessel for anyone who wants a stripped down yet intense soundscape without worrying about the industrial sounds of the synthesizer. Calming and also at times, intriguing.

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Lost Girl is defined as a poignant and powerful song that delves into the harrowing realities of drug addiction. It is written and performed by Joe Man Murphy with raw emotion and honesty. This captivating ballad sheds light on the struggles of a girl losing her battle with drug addiction.

Through haunting lyrics and a soul-stirring melody, Lost Girl paints a vivid portrait of the pain, despair and turmoil that accompany addiction. The song aims to explore the depths of her inner turmoil, the shattered dreams, and the heartbreaking consequences of her addiction.

The song is also described a with an intent to take listeners on a journey of empathy and understanding, urging them to confront the harsh realities faced by those trapped in the grips of addiction. The raw vulnerability of the lyrics and the intended haunting beauty of the music are combined in a way to create a deeply moving and unforgettable listening experience.

In its final notes, it is stated that ‘Lost Girl’ is more than just a song, its a poignant reminder of the fragility of life and the devastating impact of addiction on individuals and their loved ones. It serves as a beacon of hope, encouraging compassion, empathy, and support for those struggling with addiction.

The song starts out with a warm and inviting acoustic sequence, almost reminding you of the motif of ‘Holiday’ by the Bee Gees. The sparse instrumented is accented with notes of the harp as well as violins, helping to build a soundscape as the song moves on. It helps to give the song a fuller feel, instead of merely feeling sparse. Trills of piano also lace the song, which also serve as a subconscious tone marker to the thematic artistic intent of the song.

I’d say the song is definitely honest and raw, with harmonies accompanying the lead singer as he narrates a story laced with pain, realism and consequentialism. The lyrics of the song serve as a cautionary tale, but also a cinematic interpretation of an individual caught up in the web of drug addiction and emotional maladaption.

The singer has an extremely strong tone to his voice, and the timbre of his voice also aids in the delivery of the message, all while retaining a decent musical quality. I think people tend to make songs that definitely reflect their interpretation of the world around them, and in a blissful way, this song definitely works with all of its components. I could not imagine this song being sung or arranged by anyone else.

The song will definitely tug on one’s heartstrings, even if you do not have firsthand experience of the story he’s narrating. The sombre and heartfelt soundscape is enough to transmit the tragic tale, making it where you feel every inch of the story itself.

The track is also excellently mastered, with all the harmonies layered perfectly and certain quirks added to certain parts of the instrumentation, such as the soft background vocals and the piano keys panned to the right towards the end of the song, with the strings also panned towards the left. It definitely has the quality of an ‘immersive’ song, a skill that is definitely needed for a good storyteller.

Score/Excellent: Joe Man Murphy puts his heart into a harrowing tale that acts as a precaution and a cinematic screenplay in the track ‘Lost Girl’. It has all the markings of a decent, emotional track with musical elements that will draw you in to the track as it moves along. A wonderful song for its intent.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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The post Joe Man Murphy – Lost Girl (Single Review) appeared first on Music Review World.