Review: Geordie Greep – The New Sound

Geordie Greep
The New Sound
Rough Trade Records
Street: 10.04
Geordie Greep = Yes + Jockstrap

At the beginning of August 2024, singer Geordie Greep started an Instagram live with the ominous text “It’s iver,” referring to his consequential experimental project black midi. 10 days later, The New Sound was announced as the first solo project by the former frontman,to be released in early October. This is a review of said project. 

Introducing us to the project is the single “Blues,” which leads us not only to the wild prog rock sound this album will leave us with, but also a micro Tik-Tok trend off the busy riff parading around the track. And for those wondering, yes, we are still ‘Greeping’ along 2 months later. With over half the tracks being over five minutes long on the project, I quickly realized these songs truly ascend into a full own rock opera, each track becoming a scene in the play we get to witness. Following is what I believe was easily one of the best singles of the year:“Holy, Holy.” The single also left us with some eyebrow-raising vocals—definitely not the last we hear of them in the project. Despite the crassness, lyrically, the album sounds much more like that of a literary genius pulling a line from a recent addition in their bibliography, as opposed to a songwriter narrating one of the most interesting prog rock tracks of the 21st century.

Sonically, this album feels like a blend between the previously mentioned black midi along with fellow iconic prog-rock Londoneers, Yes. Produced partly in São Paulo, the latin grooves bleed into almost every track on the project. In my neanderthal-like brain, I almost drew a comparison to Jack Johnson-based acoustic tones but with the songwriting structure and extravagance of the aforementioned Yes. Of course, the appropriately titled “Bongo Season” (along with the title track) helped guide me to this conclusion. The usual blend of horn and percussion that we have heard from the frontman’s previous musical endeavours dances along the tracks, lending more to the jazz fusion genre Greep occupies himself in.

The track “Walk Up” starts with a fuzzy guitar tone and jazzy horns, but the song transforms by the end, reminiscent of the Jockstrap bluegrass modern sound from their track “Sexy 2.” Speaking of Jockstrap, this entire project has a bizarre genetic feel of the same futuristic subgenre that could be found on one of their albums—they both push the envelope in their own unique ways. 

“Motorbike” brings us to one of the more emotional moments on the project, led by fantastic guest vocals by Seth Evans of black midi touring fame. Easily one of the high peaks on the project—Mt. Everest surrounded by Killamanjaro. Instrumentally, it almost reminds me of the Arctic Monkeys’ newest project, The Car. 

The next track, “As if Waltz,” keeps you close and safe until shedding its skin into its true form, with its electronic and rock DNA evolving in real time. It’s the type of betrayal you’re glad happened. Even this late into the project, this track shows that there are still surprises to be had. 

The best moments on the album include “Holy Holy,” “Motorbike” and “As if Waltz,” but each track is a different flavor at the same restaurant prepared by the same chef. Sometimes, the menu might make you raise an eyebrow, but keeping your head down and trusting the head of the kitchen is the right idea.

The 12 minute goliath of a track, “The Magician” acts as a boiling point of all the album behind it—a climax in the narrative of the project. Vocally, Greep is operating with one of the most unique sounding voices I’ve heard, and the post-modern songwriting only elevates the bizarreness and advancement of the project—I’ve seen comparisons online jokingly comparing Greep and Charlie Day a la “Dayman” via It’s Always Sunny in Philadelphia. I despise how accurate that is.

“If You Are But a Dream” brings a romantic close to the album, with pop standards of the ‘50s and Sinatra influence pushing the project to its finale. Beautiful lyrics wrap the project with a bow, and the melody oddly takes me back to “When You Wish Upon a Star” from Disney.

The New Sound actually lives up to its name—Geordie Greep manages to blend latin grooves alongside progressive rock to create avant-garde rock operas that sound like a broadcast from another universe. If you think you are on the cutting room floor of experimental songwriting but haven’t heard this project, you’re already late to the party. Greep has managed to capture in essence a post-modern sound, and just may be able to become the new face of prog-rock for the 21st century. I have no hesitancy in saying this is one of the best albums of the last few years.  –Jake Fabbri

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