Grey Watson, US American expat living in Seoul, Korea has been busy making music while abroad. Grey Recently released an album last year called “Ruins“, which, upon listening I found it to be an eclectic divergence from a music scene that has become rather myopic, and lacks ambition. “Ruins“, has that pull you into the mind that matters, a rich and influential rumble that is what real music can be when allowed to flow, without the desire for the Hit Single.
As you can hear from the album’s title track, Grey Watson took Ruins to an intellectual level, which is very daring in today’s global music scene, where so many artists are trying to write for “an American” market, Grey writes from the heart, for the mind.
Grey Watson is preparing to release his new single “Radical Passenger,” which will be released at some point next month on all the streaming platforms. And like his previous musical endeavors, is daring, and from a deep well of thought, it has a trippy electronic synth sound, but not overdone, I wish I could share it with you, but I encourage you to follow his social media and follow his travels, in both music and the world. Consider him a modern minstrel on the outskirts of destiny.
Following last year’s debut full-length album, made while living in Seoul, Korea, Grey Watson toured the US and began writing his next album. In the meantime, songs often come that fall outside of the scope of the upcoming album, but still warrant release.
“Radical Passenger,” reflects on the idea that we could be in a simulation and never know. Referencing the “Brain in a Vat” scenario, the singer concludes that as long as life seems real, then, who cares? It ends by asking to be reminded that, despite these questions about reality, “you’re still on board.” In other words, you’re a willing participant in this existence, “real” or not, so play ball.
Grey said “The tune mixes fairly simple songwriting with a more complex arrangement. Each verse and change comes with new textures and instruments—some old standby’s like electric guitars and mellotron merged with buzzing synths and electronic drums. There’s even some trap style sounding hi-hats thrown in the mix. Despite the range of instrumentation and texture, the song maintains cohesiveness and feels neatly executed”. I so see Mr. Peabody explaining the way-back machine to Sherman… which is awesome!
Follow him online