Very special songs.

acoustic gutar, singer-songwriter, minimalist

Irish folk pop-rock, orchestral EDM, spoken lead vocals, whisper phrasing, young female backing vocals, uilleann pipe drones, bodhrán backbeat, tribal intro drums, mandolin tremolo, acoustic guitar strums, electric guitar octaves, synth pad wash, choir echo hooks, plate reverb, tape saturation, double beat groove, anthem chorus lift, bittersweet confession

death folk, desert psych rock, proto post-punk, 1966 Wall-of-Sound cinematic garage folk noir, witchy folk, 122 BPM, 4/4 swagger strut, minor key, palm-muted acoustic guitar chug, relentless eighth-note lock, walking fuzz bass strut, tambourine on every off-beat, brushed garage drums, floor-tom heartbeat on bridge, shaker, vibraphone bells at verse endings, backwards-reverbed guitar swells, tremolo electric guitar licks answering vocal, single Farfisa organ stab on chorus return, droning Farfisa on outro, handclaps on outro, suspended chord bridge, male lead vocal front-and-center, snotty swaggering deadpan, young Jagger smirk meets Lou Reed flat-cool, Ray Davies sneer with Ian Curtis post-punk lean, thick plate reverb, short slap echo on hooks, close-doubled lead vocal, octave-down shadow vocal on chorus hammers, ghostly female ooo backing harmonies on chorus tails, light tape flange on second chorus, 1966 tape warmth, mild tube saturation, room mic bleed, mono-leaning stereo image