In the wilds of New Zealand where the spirits of the trees still whisper secrets and the rocks hold their tales, you will find Amy Tucker West, also known as Parabola West. For those unfamiliar, Parabola West is a project stirred in a Celtic cauldron, mixing synths, folk music and a liberal sprinkling of magic, kind of a mix between Dead Can Dance, Lycia and Clannad so to speak. On the 29th of April, the album Stars Will Light The Way, was dropped, with dreamy ballads about the world and love, to heartfelt pleas for sanctuary and understanding, but always with an undercurrent of modern instruments blended with the traditional. So join us on our Celtic dreaming, speaking to the delightful Amy about the new album and.. well …everything to do around it. Beware of the imps!

Welcome into the fens of the Onyx Garden, Amy Tucker West of Parabola West. We occasionally drop in ritualistic items in the dark waters, just to keep the impish spirits happy.

Thank you! I have a dash of moon water prepared just for this sort of occasion!

In your bio, you say you discovered piano as a young adult. Was music a big thing in your life before this?

Music was a massive part of our household growing up. It would be very common for my mother, sister, and me to sing together as one of them played guitar. Lessons were something that we couldn’t really afford, but that limitation didn’t deter my mother. She was a painter, and so she decorated the walls of the music school with her artwork in exchange for us to have lessons. From that, I internalized from a young age that music was a valuable and important part of life.

Photography – Trinity Navar

You live in New Zealand, land of the long white cloud but you are not originally a Kiwi. How did you end up there?

I’m originally from the east coast of America, and I ended up joining a UK-based band in my early 20s and moving to England to perform with them. When I was over there, I met someone from New Zealand and ended up coming here with him in 2003. That relationship didn’t work out, but I loved it here and decided to stay. Fast forward many years, and I’m now an official citizen of NZ! Woohoo!

Was it a bit of a culture shock going from America to New Zealand?

It’s a unique experience to feel equally at home and equally an outsider in two countries.

I think the biggest culture shock is actually going back to America for a visit after so much time living here in New Zealand. The scale of things in America is overwhelming for the first few days. On my last trip, I remember visiting the grocery store and getting decision fatigue whilst standing in a massive aisle devoted entirely to hummus options. So. Much. Hummus. By the time I got to the toothbrush section, I was deranged with wonder.

Did you feel a difference in the music scene in NZ as opposed to the US and do you think this has influenced your style?

I wasn’t really active in the US music scene before I went to England, but I can now tell you that performing for a NZ audience versus an American audience is a totally different experience! In New Zealand, the audience will clap politely at the end of a song and probably say something nice to you privately after your show. In America, the audience is significantly more expressive throughout a show and will let you know what they think. The Kiwis are much more reserved, and the Americans are more likely to wear their hearts on their sleeves or ‘woohoo’ mid-song.

You launched your new album “Stars Will Light The Way” in April. Your last album was released in 2017 called “Purity of Weakness”. Can I ask why there was a 5 year break?

I released “Purity of Weakness” as an EP back in 2017 because I wasn’t quite ready to release a full-length album yet. My thinking was that you only get one shot at a debut album, so I wanted to make sure I had nurtured my audience enough and built my brand to the point where I could roll out a debut the way I wanted to. But, I certainly didn’t intend for “Stars Will Light the Way” to take five years to come alive! The schedule got a bit blown out by some family hardships and then a dash of pandemic. Life got a bit lifey in-between.

The sound of the album is this beautiful mixture of Celtic dreaming folk, with pop savvy. What drew you to create this style?

Thank you! I’ve always been drawn to a bit of darkness mixed in with the dreamy, and I found that the old folk instruments used in Celtic, Slavic, and Scandinavian folk really have an emotional / melancholy depth that appealed to my ear. But, I also love synth and electronic influences as well as ethereal / otherworldly sounds, so my music ends up being a blend of a few genres. I try not to think about the style or genre when I’m writing, and instead I just focus on getting the produced version to sound the way it does in my head.

What is the premise behind “Stars Will Light the Way”?

It didn’t start out with a premise or a theme in mind, but everything changed as the production got underway. I started getting these character ideas for each song, and they were very specific and in full color in my head. I decided to follow that thread, and alongside the album recording I began working on a book of visuals to go with the music. It culminated in a 48 page fantasy photography lyric book (which includes a CD). I decided on the title “Stars Will Light the Way” because each song explores a different way of finding a path through the darkness.

Photography – Trinity Navar

With Covid causing mayhem around the world for 2 years, how did this affect your creating and recording the album?

It was definitely a contributing factor for why it took 5 years to release this album! I worked with two producers (Scott Newth and Andrew Newth), and I can’t think of a single time that we were all in the same room together since the start of Covid. We worked remotely, sending files and ideas back and forth. In some ways, it was really cool to have that extra space for ideas to grow in isolation. There were some silver linings within the sh*t sandwich.

New Zealand is a rather magical place with its green rolling hills, snowy peaks and native inhabitants, the Maori, with their rich history and tales. How do you feel this has an effect on your music?

New Zealand is, indeed, a deeply magical place! For me, the landscape feels like it holds a spiritual energy. The past 7 years of living off-grid up a misty mountain has really heightened my appreciation for existing in harmony with the seasons and the elements. Lyrically, the themes of nature pop up a lot in “Stars Will Light the Way”.

Who or what were your early musical influences?

Depeche Mode, Tori Amos, Enya, Loreena McKennitt, Dead Can Dance, Information Society, Kate Bush, and fantasy film soundtracks. I also thrashed a mixtape full of artists from Projekt Records (standouts on that cassette were Love Spirals Downwards, Black Tape for a Blue Girl, and Lycia).

Is there anyone that you listen to now that brings you great joy?

I curated a playlist on Spotify called Beautiful Darkness which has a lot of examples of music I’m enjoying at the moment. There are a few Scandinavian artists (Aurora, Agnes Obel, Eivør, and Kite) that get a heavy rotation, but there are also artists like PJ Harvey and Coco Rosie on there as well.

If ever I am in a desperate funk, however, I turn to the Sesame Street Disco album. Specifically, ‘Me Lost Me Cookie at the Disco’ performed by Cookie Monster.

We have heard that you love French bull dogs. What is it about them that makes you giddy with joy?

Oh Frenchies! Yes, they are the perfect blend of cuddly and adventurous. They snore and fart hilariously through the night, and every Frenchie I’ve met has a friendly nature and a heart of gold. My husband and I had the privilege of raising two, and they brought us immense joy.

What do see in the future for Parabola West?

The immediate future is planning and executing an epic summer tour in the southern and northern hemispheres. After that, I’m interested in exploring the realm of writing for film and television.

Thank you for communing with us!

I appreciate the opportunity, thank you!

Stars Will Light the Way | Parabola West (

Parabola West official website

Parabola West (

Parabola West’s (@parabolawest) profile on Instagram • 892 posts

Esoterik released their latest album, Alchemy, in March. Dubbed as pagan-synth, this US duo of Allison Eckfeldt and Brady Bledsoe, have created an album which has mystical folk tendrils, spliced together with electronic synths and rhythms. It is beautiful and danceable with a spiritual centre, calling back to a time when our ancestors were more in-tune to the world they walked in and the earth was far more listened to. So we decided that it was time to ask the band themselves about the new album and Esoterik.

Welcome Esoterik to the druidic grove in which Onyx thinks deep and perplexing thoughts.

The project, Esoterik, came into being in 2013, so how did it all happen?

Allison: I’ve felt a strong pull to create music, perform live and tour since high school but never had things line up to where it could happen… I ended up asking Brady if he would like to join together in a project after I had tried out as bassist for a different band he was in.

Brady: My musical tastes have always been all over the place and love creating soundscapes in different genres. Allison and I were sharing some of our favorite artists so I decided to take some of the elements I love most about those and just push it through my normal songwriting process to see what happens. I showed her a couple of demos and before we knew it, we had enough material to call it an album.

What were you both doing musically before Esoterik?

Allison: I was mostly playing on my bass guitar on my lunch breaks from work… and singing/recording covers of artists I was inspired by.

Brady: Directly before, I was playing in a project with some friends that I guess you would call Power Pop and also doing a lot of solo gigs with my acoustic, a synth and a looper pedal. I’ve dabbled and participated in projects across a wide array of genres over the years and I think that’s something I’ll always do to scratch the creative itch.

People might not know that the band is comprised of a husband/wife team. So, do you find it easier or harder being married to your bandmate?

Allison: I’ve only really known this formula so I can’t comment on if it is easier or harder… It isn’t hard though; It’s a lot of fun. It’s work too just like anything else you would like to improve upon. Lots of practice, listening, learning and growing. I’ve taken part in a lot of team-oriented projects so I approach this band the same from the same professional standpoint

Brady: I don’t know who told you that, but it’s a secret that was not to be revealed. In all seriousness though, I find it much easier and it’s pretty magical to be able to share the experiences of life on the road. You often hear about musicians having trouble being able to maintain relationships due to a lifestyle that requires a lot of traveling so problem solved there. In my opinion touring is one of the most gratifying and difficult things you can do as a musician and it can wear on you after a while. However, there’s a bond that forms out there in very little time and strangers become family. That experience with my partner is only amplified each time we get out there. I also always know where to find her when it’s time for rehearsals.

How do you both contribute to the creative process of writing songs?

Allison: I usually will write lyrics and pass them to Brady… I have my most fun sprinkling in ‘off the script’ takes during vocal recording however. The song starts to form its’ shape and I get really excited to add in flare where it feels right.

Brady: Our songwriting process varies depending on how inspiration strikes but it usually starts on an acoustic guitar with me working out chords or a melody that pops into my head. Once I have a general arrangement that seems solid, I’ll then go into the studio and start transposing and building out the skeleton. For lyrics or vocal melodies, we usually bounce ideas off each other or Allison may have lyrics already and we clean them up to fit the phrasing with the music.

Your latest album is “Alchemy” and alchemy was the precursor to modern science but still very much in the pseudo science realm, mixed with ideals of magic, and this reflects the album for me. Magical with its roots deep in the earth. What does the album mean for you?

Allison: It’s a journey to reconnect with myself. Take back all the pieces of who I am that I had let get away from me… The songs are introspective, empowering and full of affirmations. This album to me is basically a diary of my past three years doing shadow work. Un-learning and re-learning to live again.

Brady: The concept of Alchemy has transformed and evolved over time but regardless of the focus, the fascination to me from a physical perspective would be how the elements from the earth interplay with our bodies, which are also composed of some of those elements. The practice also plays well into the realm of spirituality and the power of intention. The process of making music to me feels very alchemical with taking ingredients that have a very defined character or texture alone but when combined created something unexpected and seemingly new. The individual songs on the new album have been crafted with purpose and intention to represent the element or compound titled.

Each of the singles on the album were also released as remix EPs, with guests doing each mix. Could you please explain why you decided to go this way and who you invited to do your mixes?

Allison: We invited a lot of our friends and acquaintances to join in on the single releases. We thought it would be a really fun way to send the songs off into the world. I’m really happy with every track and it was so beyond amazing to be able to listen to everyone’s own take for which direction they wanted to take the soundscape into.

Brady: The way people listen to music is constantly evolving and regardless whether or not as an artist you have a preference on how your music should be consumed, I feel like you have to give your music the opportunity the most airtime you can and spreading those releases out with additional content is sometimes the only way to reach who really wants to hear what you’re creating. In terms of the artist selection, we’ve been lucky to cross paths with a lot of talented musicians over the years and it’s a very tight knit community where you start to lean on people you trust and respect.

Some are very big names, so was that both exciting and nerve wracking?

Allison: Everyone who agreed to take part in our project we have met on tours and through mutual friends. Fortunately, nothing was nerve wracking because everyone who took part, I feel very calm around. I’ve never felt judgment from these individuals and have only had good conversations with them. When you can fully be yourself around creative partners, really beautiful magic can flourish.

Brady: It’s always a bit nerve wracking for me no matter the artist, but also super gratifying to hear your music re-imagined and often elevated to another level. There are a few remixes on the EPs where I seriously contemplate whether their interpretation is actually a better fit than the studio track, which is a great predicament to come across. We are really grateful and honored to have the opportunity to collaborate with such amazing artists and even better to call some of them good friends.

The latest single is “Tria Prima”, which in alchemy is represented by a three sided triangle and is the bringing together of three elements. Can you tell us about this concept and about the music video?

Allison and Brady: Tria Prima takes listeners through the underbelly of the mind and highlights the importance of self-awareness and the balance necessary between mind, body and consciousness. Our minds can be a very ugly space to explore and will run wild if left to their own devices. The mind is flawed by design but with focus and intention, freedom from our self-imposed shackles is possible and always waiting.

If you had to pick a track off the album that would be your favourite to play live, which would it be?

Allison: Salt; I really look forward to performing this one live… The vocals are so fun; and there’s such a variety of moods I get to tap into. The whole song really paints such a nice atmosphere for me to vibe with.

Brady: I would have to say Tria Prima, it’s very high energy and I love the dual vocals.

The cover art for the album is really quite exquisite! Who created it?

Allison and Brady: We had a photo session with some very talented artists Neisha T. Ford and Eugnell, who specialize in what I’d call modern Renaissance style shoots. We didn’t really have any direction on cover art at the time, but after seeing the proofs we knew that one in particular just had a feel that was striking and timeless. We collaborated with another amazing artist, Vlad McNeally (Kallisti Design), who has designed for pretty much everyone in the business and he knocked it out of the park with bringing the vision to life.

For 2 years, Covid has created havoc with the music industry, especially with touring. How did it affect the recording of the album and also your ability to play live?

Allison: It benefited the recording process; as we were stuck home the entire time. We had all that extra time to record and just be creative in general. Performing live was nonexistent during the pandemic…so we had no live shows for quite some time except performing for friends. I’m really looking forward to hitting the road once more. Being able to do live shows is such a huge part of the lifestyle that it feels really uncomfortable when I can’t make those in person connections with listeners.

Brady: It was absolutely wonderful from a creative perspective; we were able to finish up the last half of the album without any distractions. We’ve actually only played a couple of shows in almost three years now so we’re really jonesing to 1) be able to perform for an audience and feel that energy exchange and 2) play a new set with the tracks from Alchemy.

Your style was described by a fan as dark pagan, I feel due to your earthy tones rooted in a darker past, would you agree with that interpretation?

Allison: We were coined ‘Pagan-Synth’ by a fan on YouTube after ‘Spirits light the way’ was released and I instantly fell in love with the term. Blending spiritual, spell rooted songs with synth. In the future, as we grow with our sound; I would like to blend more Folk pagan into synth heavy beats. I would like to find a way to blend in some progressive guitars as well.

Brady: We definitely resonate with a pagan path and for me, it’s really about our connection with the earth. When we take time in nature, we feel more connected to everything and that goes a long way for anything that ails you. Some of that inevitably bleeds into the music we create from a lyrical standpoint. However, there’s nothing ancient sonically in what we’re doing at the moment so it may just be a marriage of the two.

What music/bands, first got you into the alternative scene?

Allison: That’s pretty hard for me to pinpoint… I grew up on ‘alternative’ 70’s music and then around 2002 (I was 12.) One of my older brothers, Kyle, burned me a mix CD with Static-X, Fear Factory, Drain STH, Black Sabbath, Gravity Kills and others. The two songs I would put on repeat off of the CD were ’Sold my Soul’ by Zakk Wylde and Drain STH ‘I Wish’. The Zac Wylde song brought me a lot of peace and comfort when I was no longer able to see my older brothers until I was around 16. Just that opening guitar of the track hit me right in the solar plexus. Some of the lyrics I really felt deeply but the melody itself was so healing to me. The Drain STH song felt like the anthem to my existence during my early teens… The lyrics really spoke things I couldn’t vocalize. I found myself going back to that track when I was in a really low spot.

Brady: My first taste of the scene was in the early 90’s and was mesmerized by the melodies and catchy hooks of New Wave and Synth Pop artists like Depeche Mode and New Order. Although when I started actually composing music I was on a steady diet of grunge and industrial, I knew I’d always come back around.

Are there any acts or albums that you are into now?

Allison: I absolutely love Eivor, I’ve seen her twice live and I am in absolute awe of her creativity, vocal range and overall musical portfolio. I own all her CDs and feel such a deep connection with what she writes. I’m also in awe of iamamiwhoami; I can listen to their albums front and back without getting tired of a track… I usually listen to them while I’m drawing or painting. Each track hits me right in the heart.

Brady: There’s so much great music right now thanks to the downtime everyone had with the pandemic. A couple that come to mind though are Haex and Pixel Grip. They both have such a unique spin on the ground that others have walked before. One’s heavier and one is more on the dancey side but I highly suggest checking those two bands out!

If you had the gift of creation with alchemy, what would you want to create with this power?

Allison: Alchemists created such a wide variety of things chemists still use to this day… When really thinking about the question I suppose I wouldn’t be concerned with creating anything in particular. I would instead be more interested in learning and experimenting through trial and error… and from that point pinpointing exactly what path I would want to explore. I would like to spend more time learning from knowledgeable sources about Prima Materia as I think a lot of ideas could be answered there. Carl Jung had some interesting takes on alchemy actually if anyone else is interested in learning more.

Brady: In the literal sense, I’ve always been intrigued by mortality and ways that we try to avoid the inevitable so the Elixir of Life would be my creation. Like much of history though, I think there’s more metaphors in ancient practices than literal so we could very well have that gift and already created that with this album.

Dark pools of still water were considered sacred places where gifts were given to receive both luck and information. What do the dark waters tell you about the future of Esoterik?

Allison: when reading your question, I actually had a memory pop into my head… My kindred spirit Christian and I were doing a ritual by a natural waterfall at night. The waterfall is in Oklahoma at ‘The Sacred Valley of the Gnomes’ (Runestone park.). The waters at the base of the waterfall were pitch black and the forest surrounding had very little light… I offered an expensive Labradorite ring I loved and Christian offered a prize procession of his own into the dark waters to the old Gods. We sat in the darkness together under the starlight. After a bit of time had passed in silence, we both at the same time locked eyes in the sky above something otherworldly I’ve sworn with Christian to never elaborate on. The gift the dark waters gave me that night told me that the Gods will keep me and protect me, guide me and direct me. They told me magic is real and that all I need to be is open in order to receive it. I’ve held this close as my guiding light.

Brady: Much like the dark waters that present an opportunity for reflection, I believe the knowledge and intuition we seek is already within us if we’re able to focus and listen. It’s still hard for me to get too carried away with planning far out in the future. As we have come to realize through an event like the pandemic, those plans can change at the drop of a hat. My focus these days is on the one thing I can control and that’s to continually create music and art that excites me. I feel like if I can keep that going, everything else will fall into place with much less effort.

Thank you for both your time and the music!

Pagan-Synth. – ESOTERIK (

Esoterik | Facebook

We here at Onyx, decided that since Brisbane band, Daylight Ghosts, have released their first length album, Urban Umbra, that if might be prudent to talk to Karl O’Shea and Adam Dawe about the album and things that have brought them to this moment. No vorpal bunnies were hurt in the asking of any questions.

Welcome to the dark side of Onyx, which may or may not be as dark as my soul.

Karl O’Shea: Not my first dalliance with the dark side, I can assure you of that.

Adam Dawe:  Hello darkness my old friend…

The new album, Urban Umbra, is your debut full release and before that, you had brought out 5 singles, two remixes by the talented Matt Dodds and a live recording. Was it a natural progression to bring out the album? What impact has COVID had on all this?

Karl O’Shea: I annoyingly kept changing my mind on how we were going to do this. The original idea was to release all the songs as singles and compile them as a playlist but then decided that was probably not super smart for a very small band so we decided to make this group of songs an album instead. COVID has definitely slowed things down but it did afford me a lot of time to work on the rough demo arrangements. The main impact for us was we didn’t end up doing a live “in person” gig until the tail end of 2020 and a few postponements and cancellations in 2021. That being said, that lovely folk at Live On Mars helped facilitate our first performance as a livestream. To help with the nerves, we had a few friends (COVID-distanced of course) in my living room to help it feel a little bit more “normal”. And it was pretty nerve-wracking for me as that was the first time I had played guitar live! I think I did okay.

What is the meaning behind calling the album Urban Umbra, as an umbra is a shadow or darkness?

Karl O’Shea: Put simply – moody, melancholic music made from the perspective of people who live in cities and have experienced the darker side of city living (as well as the good). Where you live definitely has an influence on the art you create, whether that’s overt or subtle. The acoustic elements mixed with the synthetic and electronic in our music are a vague reflection of the cultural melting pot that is city living.

Adam Dawe: And we also thought it would be really hard for people to say the phrase “album Urban Umbra” quickly without falling over their words.  

I particularly like Before The Fall. What is the significance of this song as I am intrigued by the last line about going back into the sea where you left her buried?

Adam Dawe: Thank you. That song is a personal favourite of mine and seems to be one that a lot of people are taking a liking to, which is great. I don’t really want to go into the lyrics too much due to the personal nature of them, but I will say the “buried” part is more metaphorical than literal. I haven’t buried any women at any beaches yet. It’s really about how certain places can invoke certain memories of certain people, and I chose the sea because of its metaphorical relation to emotions and wild, untamed spirit. A powerful force of nature under the right circumstances, or also a quiet, contemplative place of tranquility and peace.  

Both of you are in or have been in a number of bands in the Brisbane scene. Adam in Lunar Seasons & Novus Wild and Karl in Balloons Kill Babies, inovo, Sarah Stockholm & Ghostwoods. How did you both end up playing together?

Karl O’Shea: Nothing too exciting to be honest. I posted an ad on a Facebook music group looking for a vocalist/collaborator for a little dark-folk project I was working on and Adam was the only person that I felt projected fragility and melancholy with his voice and actually got the brief. The dude’s got a great work ethic and is up for anything which are excellent qualities in a collaborator. Plus, he’s a really lovely guy and that’s an especially important quality in a human being, creative or not.

Adam Dawe: After the initial contact on Facebook, Karl sent me 4 or 5 of his song ideas. Once I heard the caliber of the music Karl was coming up with, I was hooked. I’d been wanting to create music in this style for a very long time and felt like I had something I could add to these songs. When we met up in real life, we bonded over shared musical tastes and a love of all things that take a turn off the beaten path.  It also doesn’t hurt that Karl is an absolute champion of a person too.

The other bands you are involved in are a lot heavier or noisier for want of a better word, whilst Daylight Ghosts is far more organic and folky in feel. Was this the sound you were striving for or is this how the project has evolved naturally?

Karl O’Shea: My original vision for Daylight Ghosts was to create more intimate dark-folk in the vein of artists like Death In June, Chelsea Wolfe, King Dude among others. It was only when we started work on After The Flood with Matt and introduced drum loops and more synthetic sounds that I was inspired to push the music in a more “dark-folktronica” direction and incorporate other styles like indie music, post-punk, goth, hip-hop and electronica. We’ve basically been working this out as we go along and honestly, it’s much more exciting to me to try and blend a lot of these styles together than just ape the artists that originally inspired the project.

Adam Dawe:  As Karl said, the original idea was simply an acoustic duo. But once we started introducing other instruments in our recordings the project evolved into what it is now. Which I think is something even more interesting.   

Both of you are involved in the writing of songs, so who comes up with what?

Karl O’Shea: I generally compose and arrange the musical side of things. The process normally is: I write a really basic structure on acoustic guitar, send a demo to Adam, then slowly come up with an arrangement, go back and forth with Adam to refine the structure and arrangement and then work with Matt to record and get the right sounds.

Adam Dawe: I’m the lyrics guy and it’s my job to translate the mood of the music into stories. The only standard I set for myself is that the lyrics and vocal parts need to complement and potentially elevate the music.  

A lot of the imagery for Daylight Ghost has to do with nature, even the original images you sent with your singles In The Glow and Golden Hour could be you but all filmy and light distorted outside. What influences your artwork for the band?

Karl O’Shea: This isn’t a very artistic answer. I have, over the course of the last 5 or so years, taken various “artistic” (or pretentious) photos on my iPhone and messed around with them with never much of a plan for using them. I’ve always wanted Daylight Ghosts to be as DIY as possible and when we started to require imagery for releases, I decided to go through these images and there was a decent handful that I felt matched the vibe of the music. Even though a lot of these images are from nature, the images are distorted and doctored which kinda works with our whole “acoustic-mixed-with-electronic” style.

Do you sometimes feel like ghosts that walk in the daylight hours?

Karl O’Shea: Not really a proper answer to your question but the inspiration for the band name comes from the book “Junky” by William S. Burroughs. The line is talking about drug addicts who had metaphorically withdrawn from the world but still walked around in daylight as a former shadow of themselves. Without going into my history too much, I do have a past with substance abuse, bad relationships and have generally struggled to feel like I fit in with most groups of people. Something about that line resonated with me and I felt it fit the band.

Adam Dawe: I’m a night person by nature, so any time I’m awake during the day I feel a bit ghost-like.  Or maybe more zombie-like? Daylight Zombies doesn’t quite have the same ring to it though.  

There seems to be a certain amount of darkness in the lyrics and music. Which one of you is this coming from?

Karl O’Shea: I think we’re both responsible for the darkness. I bring it to the music and Adam brings it to the lyrics. I’m not especially interested in writing happy music and if I did, it wouldn’t be genuine.

Adam Dawe: The lyrics are 9 times out of 10 a reflection of what I’m getting from the music.  So we’re definitely both responsible for it.  

Will there be live shows to support the album, especially with venues being allowed to open to full capacity again?

Karl O’Shea: We are planning a launch at It’s Still A Secret on the 6th of May with Reverb Springs (more details to be announced). This will also be the first show where we FINALLY incorporate the rest of the sounds that you hear on the recordings. Outside of that, we’re just going to see what happens. I’m a big believer in doing a handful of decent shows instead of plenty of middling ones and I’m personally not too interested in wasting thousands of dollars on touring. If something decent comes along in another city, I’ll definitely make the time and effort to travel. But touring up and down the coast off our own backs with such a small fanbase to possibly play to 5-10 people a night? There are much easier ways to waste money and a lot of them are more fun too.

Adam Dawe:  There certainly will, and it will be our first show in nearly six months and with our new instrumentation set up. Previously we’ve played only as an acoustic duo so it will be great to play the songs in a manner much closer to their recorded counterparts.  

What bands and music did you grow up with that influenced your tastes?

Karl O’Shea: There’s quite a lot of music I love but I would say that bands that most influenced my current tastes whilst growing up were Something For Kate, The Cure, Joy Division, New Order, Nine Inch Nails, Porcupine Tree, David Bowie, Radiohead, Helmet….the list keeps going.

Adam Dawe:  Definitely David Bowie, The Cure, Radiohead and Nine Inch Nails for me as well.  Then also singer/songwriters like Leonard Cohen, Bruce Springsteen, Neil Young and Nick Cave.  

Who or what do you listen to now?

Karl O’Shea: I’m always all over the place but the artists I’m currently listening to the most are GGGOLDDD, Nilüfer Yanya, The Body, Ethel Cain, Bring Me The Horizon, Enter Shikari, Julia Jacklin, Soccer Mommy, Einstürzende Neubauten and probably dozens more. I’m also currently obsessed with a couple of podcasts which are Not Another D&D Podcast and Tanis.

Adam Dawe: I’ve been getting into Jack Ladder and the Dreamlanders and Beth Hart of late. And a lot of the Rolling Stones. On the heavier end of the spectrum, Zeal and Ardor and The Ocean Collective are getting a pretty solid spin too.  

As the reincarnation of Wizard Tim, I will ask what is your quest, favourite colour and what will be happening in the future with Daylight Ghosts?

Karl O’Shea: I’ll go for the basic goth answer and say black is my favourite colour though I’m quite partial to grey, red and blue. As for the future of Daylight Ghosts? Simple – keep creating and releasing music. We’ll figure out the rest as we go along.

Adam Dawe: I seek the holy grail. My favourite colour is blue. And I hope Daylight Ghosts continues to soar with the airspeed velocity of an unladen swallow!

Thanks heaps for playing and congratulations on the album Urban Umbra!

Karl O’Shea: Why, thank you very much!

Adam Dawe: Thank you!

Music | Daylight Ghosts (

Daylight Ghosts | Facebook

Brisbane band, Daylight Ghosts have been tantalizing you with singles since 2020. Comprised of musicians Adam Dawe (vocalist/songwriter) and Karl O’Shea (guitarist/composer/programmer/shaker of reindeer bells), this duo is involved in no less that 6 other bands between them but they decided to embark on a musical route neither has traveled before. The 25th of March, 2022 marks the release of their album Urban Umbra, which is a collection of the singles and extra tracks.

I have reviewed some of the singles previously, so I was already familiar with many of the tracks. I would have to say my favourite off the album is “After The Fall“, It is simple in its delivery, with a slow intense burn that you feel to your very core. Dawe’s singing is so perfect, giving you goosebumps with the sadness and tenderness. You can be consumed by tracks like “Golden Hour” which reflects the fading of points in time which cannot be recaptured, the melancholic “No Man’s Land” (no doubt Nick Cave inspired) and the intricate “After The Flood“.

In the end Urban Umbra runs a gamut of lost and unrequited love, lost perfect moments in time and tunes that you can decide what they mean to you. There is a divine symmetry between the acoustic and the use of synths, giving each of those tracks a well of emotional depth. O’Shea composes tunes that in essence have a dark core to them and wend their way into your mortal fabric. Dawes creates lyrics that pull at your heart strings, evoke memories and sentimental ideals, while his singing paints pictures of what has been and mirages of what could have been, in colours of murky dusky hues. This is the essence of Daylight Ghost’s Urban Umbra, a shadowy world of memory and dreams, drenched in longing. To that end……bleakly exquisite.

Urban Umbra | Daylight Ghosts (

Daylight Ghosts | Facebook

September the 24th saw the release of Brisbane band, Daylight Ghosts, latest single, “In The Glow“. This neo-folk group is made up of two members, Adam Dawe (vocals/lyrics) and Karl O’Shea (acoustic guitar/keyboards/arrangement) and was given life in 2019. Since then, they have brought forth two previous singles and are looking towards the release of the EP, also named In The Glow.


The drum machine hold the constant beat, the acoustic guitar winds it’s way around Dawe’s vocals. A melancholy about that they cannot live with nor without. ‘Lyrically In The Glow is a song about addiction disguised as the creative process disguised as addiction. Erase. Start over. Erase‘, wrote Dawe. There is an insistent piano line in the chorus and synths that gently aid in the heightened emotions.

There is a lot passion and heart in this piece. O’Shea plays the guitar beautifully and Dawe never lets the lament break the smooth and clean vocals. Gothic tinged electro/neo-folk is probably my best description of Daylight Ghosts. They literally are like a blue flame in the dusk hours, illuminating the shadows into stories to be sung. Discover Daylight Ghosts and their eerily alluring “Into The Glow“.