MOSSY
Self-Titled (EP)

Written by Zanda Wilson

MOSSY is really only just getting started in the music industry, having already established himself as an actor and visual artist. His self-titled EP MOSSY represents an exploration into new and untouched areas of his artistry, yet it is so clearly imbued with his own experiences as a creative.

It’s a five-track tapestry, each track painting a picture of a certain emotion – but all conveying sentimentality over 70s and 80s instrumental music. This isn’t to say that this record is set in the past – far from it. Mossy picks and chooses some of the dominant elements of rock, psychedelia, soul and funk from past decades and gives them new life and context in these five diverse tracks.

Mossy’s echoic vocals are one of the coolest ways that he throws back to a psychedelic dominated mentality. In Shipping Yard they emerge out of the mix, and lazily fall back in – so as not to dominate or take away from the pulsating beat or counter-melodic guitar. The guitar itself takes on a role often heard in funk music, sitting behind the beat most of the time and taking liberties with the chord progression, giving the track a laid back feel and whilst still having an air of spontaneity.

The lead single, Electric Chair is instead dominated by synths, yet Mossy’s vocals remain a core part of the mix rather than a dominant force. The shuffling beat of this track also provides contrast – and the use of heavy synths give Electric Chair an intensely rich texture. More diversity across the record can be found in the short instrumental that Mossy provides us with called Spa that cuts apart the two halves of the record in a contemplative fashion.

For someone who is only really getting his start in Music new, Mossy’s vocals betray his experience – and are showcased on the dreamy effort, Waterfall. Vocals are layered on top of one another, resulting in some heroic harmonies and penetrating, raw emotion. This is the first track on the EP where the vocals are the primary focus, despite a rip-snorting guitar solo that cuts the track in its middle.

Ginsberg is where we wind up, as the final song on the record – and is the most conventional vocals we have heard so far. Mossy doesn’t layer his vocals, or use any echo effects. It’s something of a relief to hear some very tangible singing after what has come before it – and shows that yes, Mossy can indeed sing without the assistance of production (well, without much). This final track is an intricate effort, that continues the theme of the laid-back shuffling rock feel that is thematic over the course of the whole project, and it slowly concludes with Mossy whistling the final melodic hook.

The Mossy EP is out May 13, grab a pre-order here.

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