Kelly Kirwan

What's the word on MOSSY?

That's been the "it" question on the indie beat lately. There's mystique, an eponymous EP, and plenty of hype buzzing about the up-and-coming solo act, so much so that it's easy to wonder, does the real thing measure up? The short answer: yes. While MOSSY may be fresh on the scene, the man in question—Jamie Timony—is no novice. He’s acted beside notable names like Willem Dafoe and Geoffrey Rush (no big deal) and has now decided to explore another avenue of self-expression—one that mixes synth, soul and soft rock across five fleshed-out tracks.

The album’s opener, "Electric Chair," opens in a low timbre before leveling out to soft (and vaguely '80s-inspired) synths. I felt shades of shoegaze as I listened, if only for MOSSY’s occasionally nasal pitch and the background’s frayed, distorted edges. The song itself is a mesmerizing haze, and it’s complementary video is all the more enrapturing. Directed by Kris Moyes, the video follows a man and woman (who never meet) against an eerie, visually stunning backdrop. A ballerina dances gracefully in the dirt, her limbs elongating into the foggy air, before we switch to motifs of shimmering light and reflective, watery surfaces. It’s bewitching, and rife with symbolism—particularly the Greek myth of Narcissus, whose self-obsession led to self-destruction. “The feeling evades me” is a recurring lyric on "Electric Chair," honing in on that insatiable desire that turns us into, in MOSSY’s words, “A fool in need of a friend.”

Then there’s "Spa (Interlude)," an instrumental oasis placed in the album’s center. The song lasts only a minute, coming and going so quickly it feels like a mirage—albeit one with an impressive guitar riff and shades of funk that will have your head bobbing and feet tapping. Straight after that is the smooth-flowing "Waterfall," which should come with the bold-faced instructions: play in those moments before sleep, especially if there’s someone you miss. MOSSY’s vocals have a sedated touch and are rich with longing.

And, last but not least, we have "Ginsberg," the EP’s closer, named after (you guessed it) our favorite voice from the beat generation. MOSSY stretches his voice from a whispering lilt to earnestly high registers, and if there was any doubt about his work being emotionally raw or layered, this squelches it. The beat propels itself with a blend of percussion and plucked guitar, as MOSSY implores you to “Scream something obscene / Something so real,” between vivid descriptions of nature and its beauty. It’s a song that seems to rage against feelings of confinement (hence the lure of the wild, and being wild in it).

Released on I Oh You, MOSSY (the man and the music) is a force to be reckoned with.