Mossy – Self-Titled


Hype. Hype. Hype. Hype. Hype. Hype.

Everything gets hyped these days, from a 16-year-old bedroom producer with two remix tracks on Soundcloud, to the latest superhero movie that’s just a carbon copy of it’s predecessor. That’s just the devilish mastery of publicity. Every so often though, something comes along that’s worth it.

There has been a lot of hype for Mossy‘s self-titled EP going around right now, especially considering it’s his debut release under this moniker. Whether it’s the singles being premiered by Zane Lowe, the countless blogs and magazines that have perked up their ears at the hypnotic tones of the Sydney musician, or nabbing a slot on the UK’s Great Escape festival, all eyes are on Mossy. So it’s a good thing he delivers!


There’s always pressure on a release with as much hype around it as Mossy’s debut. But it’s safe to say it’s not only warranted, but surpassed on Mossy.

mossy-self-titledThe EP kicks off with first single, the dreamy Electric Chair. Dripping with melancholia and romanticism – suitable considering it’s based off of the greek myth of Echo and Narcissus – the song explores themes of self-obsession leading to self-destruction – and more importantly, attempts to rise above them. Contender for the strongest of the five tracks, it establishes what Mossy does best: it seemingly effortlessly intertwines layers of synths, guitars and soft vocals into simple-sounding, but rather complex harmonies. All the while Mossy sings with seamless lyrical flow, the nature of which is just enigmatic enough to be mysterious without coming off as egotistical.

An instrumental interlude in the middle of a five-track EP could be viewed as pretentious, but instead it acts as a clever palette cleanser to break up the songs, and it’s looping sounds only pull you down further into the record.

The production here is world class. Recorded in New York with Dean Tuza (The Rubens) and David Kahne (The Strokes, Paul McCartney), you can almost hear the city’s melodrama seeping its way through the speakers. It’s rare that someone comes along with the ability to blend conflicting worlds of guitars and synthesizers so well. All across the EP, stunning guitars slice through fuzzy synths with clear, curling bluesy tones that would make baby jesus cry.

The penultimate Waterfall carries the listener away on a sea of calmly lapping waves with it’s rhythmic bass and soulful vocals, but it pales in comparison to the challenger for best song on the release in the closing track and second single,Ginsberg.

Named after the groundbreaking poet Allen Ginsberg, it takes off with some intensely intimate singing – you can almost see Mossy an inch away from the microphone – that immersive singing reflects the personal nature of the lyrics. There’s a sense of desperate longing for authenticity, he cries out “No-one is around to hear you if you wanna/Scream/something obscene/something so real.”

Closing the EP on a high-note and summarising the grandiose nature that has permeated throughout, it is the perfect bookend. Musicians like Mossy don’t come along to often: an understanding of songwriting that only comes from respect for greats like The Beatles, mixed with the modern sensibilities shown in the masterful fusion of guitars and synths, and all topped off with lyricism that oozes character. Believe the hype and get in at the ground floor, Mossy’s only going up from here.


Courtesy of The Happy Blog



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