Our ‘Track By Track’ guide sheds light on the stories behind some of our favourite artists’ music.

 

We love pulling back the curtain on the stories and inspirations behind intriguing new releases. It’s always fascinating to hear the personal anecdotes, creative processes, and little-known tales that shaped each track, giving us all a deeper appreciation for the artistry that goes into crafting these musical gems.

Are we really alone in the conscious world? Have we been here before? What is the meaning of life and death; are we truly cyclic in all forms?

These are the stories woven into the second album from Nelson Devereaux and made us eager to delve deep into his creative process and inspiration that brought these interesting narratives to life.

Each track seems to unravel a new layer of mystery and emotion as stories dance between the notes. Musically, It’s a brilliantly eclectic album that gracefully twirls through realms of ethereal jazz, experimental art pop, and off-kilter IDM-inspired rhythms.

Head below to listen and uncover what makes Nelson Devereaux’s second album a distinctive and mesmerising body of work.

 

yin yang:

This is a poem that I improvised over a lil chord progression that I came up with. Then we descend into chaos, I wanted to end on an ostinato like we are drifting into the beyond. I love Brian Courage’s electric playing on the end- it’s a six string, hehe.

 

the holidays:

Written in the perspective of a person who is trapped in their own mind, coming home for the holidays. Seeing distraction all around them, the soul finds optimism in a chance meeting. Entirely a social critique, knowing that wherever you are these holidays, we’re all sucked into the same abyss. Try to have some fun with it!

 

three tears:

This track sounds like the music I want to make more of. Mike Sodnik played the guitar on a family relic of his that he brought to my house. I played trumpet on this track, which is hilarious but also exactly the sound I wanted. The lyrics are about all of the inevitabilities of life that play out in the form of a family unit.

 

ghostrider:

This is a song about trauma and grief and how it effects us as much as a drug. How it feels to be dealing with internal struggles but having to push through life anyways. How it can diminish the sense of self. I wish it was more optimistic and as it was the first single I heard lots of things like, “I wish it was more happy.” There is beauty in all things.

 

anvil and hammer:

A track that I just wanted to start. I came up with the bass part first and then composed the front half of the song. Again, about the release of innocence and embracing reality and the infiniteness of it all. I really love polyrhythms so this was about layering and keeping the groove. Locking in and staying along for the ride.

 

lisbon:

Lisbon is one of the streets I grew up on. When I would visit my mom between tours I would walk to a place called Walters and drink Miller Lites and put Dean Martin on the jukebox. Everyone in there hated it and I loved it. Then I would walk back to her place. On the walk back I would always carefully choose the route with the chillest vibe. It is where I got my deepest thinking in. Mostly about how strange life is and how a guy from Milwaukee ended up doing all of this weird stuff.

 

bad dream:

My wife woke up crying from a dream and told me I died. I have always wanted to make music with this energy. Jake Baldwin plays an amazing solo at the end, he is incredible. The song includes the F word because why not. A bit of a joke between my brother Max and I.

 

shosha gate:

In the summer of 2023, my wife and I visited Japan for the first time. The highlight of the trip was going to Himeji and visiting Mt. Shosha and Shoshazen Engyoji. Something that we didn’t even originally intend on doing, and were really on a time crunch for as well. It was a transcendent experience that I will never forget. One where I transformed. There is a before and after me. We also went to “Koba And More” ramen shop in town and I sang John Coltrane solos with the owner. The entire Blue Train record.

 

garden:

This track focuses on something I have done my whole life which is to mourn a moment that hasn’t even passed. I am trying to get better at that. At least better at being a happier person, and more in the moment. The cicadas are from the woods near the Meiji Shrine in Tokyo. This song is a ghost story.

 

deep July:

Up until this point in the record, there have been some intense moments so why not mellow out for a while? Ever since I discovered the Harumi Hosono record, Pacific, I have loved the idea of proprietary, sort of utility music… stuff that turns everyday life into an RPG. That was the goal with this track. +4,000xp.

 

lost again:

I tried to write a Taylor Swift song. Because again, why not. It’s all part of the fun. I also played more trumpet on this song, hehe.

 

light:

This is my ode to marriage. What it takes to be in a partnership. How it feels to work through tough times from different vantage points and experiences. Dancing around each others’ little games, how we can be the worst and best of ourselves… for each other.

 

gone:

Currently my favorite track. This one grapples with hustle culture, cancel culture, capitalism, the epic journey within the self, towards change- whatever that means. And despite all odds. Side note: I love the melody line.

 

infinity:

Stacked. Altos. The best.  It’s a very tarnished 1935 Conn 6m recorded on a tube condenser mic. I wanted a lullaby to end the record, sweet dreams. The ending lyrics have to do with a dream where I saw my wife again after dying. A reminder that we are everything and everything is all of us. We are all connected in life and death and it all keeps going, it never stops, it never even started because it just is. It is right in front of us.