Monday’s Monsoon have delivered something rare. Their newest album, ‘Sink/Swim/Fly’ is a soul-stirring, genre-fusing journey that’s equal parts progressive rock, indie dreamscape, and heartfelt poetic confession. Spread across 11 exquisitely crafted tracks, this album is a sonic exploration of longing, reflection, hope, and transcendence. It’s immersive and deeply personal, yet vast in its emotional range. Drawing from the likes of Porcupine Tree, Radiohead, and even hints of Jeff Buckley and Air, ‘Sink/Swim/Fly’ glides from one musical landscape to another with breathtaking ease.
The opener, “You and You and I”, sets the tone beautifully. It’s a breezy, romantic ballad that feels like sunshine in audio form. Calming ukulele rhythms, soaring electric guitar solos, and heartfelt vocals weave together a textured tapestry of joy and innocence.
From there, “The Wait” slows things down, inviting you into a moment of introspection. It’s a delicate, piano-forward composition where every instrument breathes together, creating an atmosphere of contemplative stillness. Kieran Wesley’s vocals shine here, filled with emotion and vulnerability.
“Tap Out” explores a darker corner of the album’s emotional palette. With its bluesy rhythm, unexpected saxophone flourishes, and tempo shifts, this track is both cinematic and gripping. It builds tension, explodes into intensity, and gently pulls you back with a jazz-kissed grace.
“Hi Again Mate” has a slow, delicate waltzy feel to it. Built on a simple, bittersweet reminiscence of recently losing a dear friend, it beautifully tugs on your heartstrings. A soulful interlude sprinkled with piano and violin evokes a deep sense of longing and nostalgia, out of three simple words that say so much through so little – Hi Again, Mate.
Then comes “White Peach”, an undeniable standout that’s as comforting as it is inventive. This is where Monday’s Monsoon flexes their full range—melding prog rock with indie, blues, and jazz in a seamless and refreshing way.
“Fear of Falling” is perhaps the emotional core of the album. A heart-wrenching duet, it moves from intimate, whispered confessions to soaring crescendos. With piano, guitar, and layered vocals swirling in harmony, it tells a story of vulnerability, surrender, and eternal love. The refrain “I just can’t stop loving you” echoes with devastating beauty as the song culminates in a storm of cascading melodies—waterfalls in the dark, indeed.
The simplicity of “Papering Over Cracks” is genius. For most of this opus, we listen in rapt attention to the marching drum beats and serious, almost ominous melodies. The lyrics tell of a compelling, urgent sense of regret and compromise. The breaking point is approaching. And, spectacularly, it does flourish with. At the 4-minute mark, with an epic line –
‘The wish that I’d been braver
Will always be at the front of my mind
And the back of my mind
I can’t wait to get you off my mind’
Followed by mind-melting guitar vibratos that climax the track, leaving you feeling dazed!
“Back O’ Skiddaw” offers a dreamy interlude. Bluesy, atmospheric, and deeply poetic, it unspools like a misty memory. Its final minute, with ghostlike vocals and ambient overtones, is spellbinding—a perfect example of the band’s ability to blur the line between music and emotion.
“Scapegoat” is effortlessly cool, immensely groovy, and fun to listen to. It launches into a soaring melody. Rich, slightly enhanced, nonchalantly delivered vocals explore thought-provoking themes of numbness, vulnerability, and indifference. Again, this track has a beautiful surprise in store. In the final lines, where extended, overarching, complementing vocals insist –
‘Stay with me tonight, Cause when I hold you, I can’t feel anything, I’ll turn off the light’. A futuristic-sounding, keys-driven section crescendos this track with a flourish.
Slowing the pace considerably and ever so pleasantly, is “Showstealer”, a playful, poetic love story. With heart-touching, catchy lyrics – ‘She’s a freewheeling, well-meaning, Showstealer’, is sure to be a popular sing-along. So many of us can relate to having that someone in our lives that we have ignored the call of the morning and all the small warnings to be with!
Finally, the album closes with “Feel The Tide”, an exuberant, saxophone-drenched celebration. It’s as if all the bottled emotion from the previous tracks erupts here in a festival of sound. The lyric “I feel the riptide pulling me down” paradoxically lifts you up as the song reaches its ecstatic climax—bold, brassy, and unapologetically alive.
The cohesive synergy between the band members truly elevates Sink/Swim/Fly. Kieran Wesley, on lead vocals and guitar, delivers performances that are emotionally charged and technically excellent, haunting and powerful in equal measure. His brother Marcus Wesley, on keys and backing vocals, adds depth and atmosphere, his melodies often defining the emotional core of each song. Dave Rowlands is a force on the drums, shifting effortlessly between delicate jazz-like patterns and thunderous prog breakdowns. And Mitch Quirk’s basslines are the album’s quiet backbone—subtle, clever, and always exactly where they need to be.
The production, handled by Dave Rowlands, is immaculate. Every note is placed with purpose, every transition feels organic. It’s the kind of album you want to experience with headphones, front to back, uninterrupted.
Monday’s Monsoon have not only crafted a fine, fine album—they’ve built an experience. Sink/Swim/Fly is a coming-of-age symphony for the soul: a tapestry of joy, loss, discovery, and ultimately, a celebration of what it means to feel fully human. It invites listeners to dive deep, let go, and be carried by the tide of its many moods.
Simply put, ‘Sink/Swim/Fly’ is one of the finest prog/indie albums we’ve heard in years—a debut that sounds like a seasoned band already at the top of their game. Expect to hear a lot more from this exceptional group.
Stream ‘Monday’s Monsoon – Sink/Swim/Fly’ on Spotify here:
