Welsh Avenue does not change his tune, but his tone

Considering Mark DiLillo’s (aka Welsh Avenue) many years of classical training and performances, he has changed up his well-known and established sound, an alt-electronica/experimental-new wave to a more organic piano driven vibe.

The Austin based singer-songwriter and recording artist, under the name of Welsh Avenue now takes a bold risk in completely re-imagining his artistry and creative approach. Writing more meaningful and poetic songs away from all the technology attuned musical stylings he previously made his foundation of soundscapes.

The first expression of this fresh and soulful, no-frills sound is his stunning new single “Come Back Home,” which has already garnered some cool acclaim from indie tastemakers, including FindNoEnemy.com calling it “a deeply passionate and plaintive piece of indie pop.” Produced by DiLillo’s longtime friend and fellow musician Scott Morris – with whom the singer has been playing in church and secular venues for six years – the song is a showcase for the full power of his vocal talents and taps into the emotion of having someone we’re close to walking down a dark path. The song has an extended instrumental outro where his melodic piano playing is in full on dazzle mode. 

In Review: “Come Back Home,” byWelsh Avenueis enigmatic, hypnotic and beautifully composed. Its harmonies are touching and imprint upon you, it has a thoughtfulness to it, more like a memory reoccurring in the mind, one of your own being touched and reignited.  His vocals sound just one pitch higher, standing out but still in time and in the groove, the song sounds like conflicting thoughts, trying to remember things differently than how it happened, trying to find something good where it may not be, then the song ends suddenly, leaving the listener drifting, and still hearing the tune, but now in their own “voice”, the song is brilliant!

“’Come Back Home’ is basically me saying that you can’t make choices for those people we love who are going in a direction you may feel is wrong, but you can only love them through it,” he says. “Introspectively, as a songwriter, my point of view is ‘future me,’ looking at my current self because I know I don’t always make the right choices or sacrifices every day. It is the beginning of a change in my style, as I have enjoyed sitting down at my upright piano a lot and writing simple, poetic songs versus making beats on Ableton. My next single ‘Feather in My Hat’ is a lot more upbeat, with fuller production qualities, but the essence is still me at the piano.”

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