Last updated: 6 days ago
Veterans of the indie underground rarely emerge from their cocoons with such fluorescent wings. Coley Kennedy, the voice and architectural mind behind <a href="spotify:artist:1UV8OM3emHZg73y28JhPtM" data-name="Black Vincent">Black Vincent</a>, Chicago’s <a href="spotify:artist:2aRFZSOqICxAV9mBFPcnTz" data-name="Welcome to Ashley">Welcome to Ashley</a>, Nashville’s <a href="spotify:artist:6Gy3WO8bmOpO6IT0qwME6Y" data-name="The Buddies">The Buddies</a> and 90s garage punk band <a href="spotify:artist:2FMlxKFKGqzZK2GqnuMAWw" data-name="The Bennies">The Bennies</a>, has done just that with his latest LP, Neptune Blue.
Kennedy, now crafting his sonic landscapes from the unlikely creative outpost of his hometown of Jackson, Michigan, has always had a knack for finding the sweet spot between raw emotion and polished production. This new album, however, suggests he’s been spending quality time with his vintage synthesizers and dog-eared copies of <a href="spotify:artist:0yNLKJebCb8Aueb54LYya3" data-name="New Order">New Order</a>records.
2025's Neptune Blue is a fascinating departure from Kennedy’s previous work. The seven original compositions, along with an astutely chosen cover of <a href="spotify:artist:0TAzTJoBgHSxnYryMWcAi8" data-name="Justin & The Cosmics">Justin & The Cosmics</a> “Don’t Let Your Hunger Die,” mark a deliberate pivot toward the neon-lit corridors of ’80s synth-pop and new wave, while maintaining the post-punk edge that’s been his calling card.
Kennedy hasn’t made this journey alone. The album features a carefully curated ensemble of collaborators, including <a href="spotify:artist:2aRFZSOqICxAV9mBFPcnTz" data-name="Welcome to Ashley">Welcome to Ashley</a> alum Pete Javier, <a href="spotify:artist:52QgzwyRpxKpLW1baJPaSx" data-name="The Smoking Flowers">The Smoking Flowers</a> Scott Collins, classical pianist on "Sebastian and Jane" Marie Vavro, and saxophone on "I Will See You Again" by Larry Roy Sumner Jr. Their contributions add depth and texture to what might be Kennedy’s most personal statement yet.
Kennedy, now crafting his sonic landscapes from the unlikely creative outpost of his hometown of Jackson, Michigan, has always had a knack for finding the sweet spot between raw emotion and polished production. This new album, however, suggests he’s been spending quality time with his vintage synthesizers and dog-eared copies of <a href="spotify:artist:0yNLKJebCb8Aueb54LYya3" data-name="New Order">New Order</a>records.
2025's Neptune Blue is a fascinating departure from Kennedy’s previous work. The seven original compositions, along with an astutely chosen cover of <a href="spotify:artist:0TAzTJoBgHSxnYryMWcAi8" data-name="Justin & The Cosmics">Justin & The Cosmics</a> “Don’t Let Your Hunger Die,” mark a deliberate pivot toward the neon-lit corridors of ’80s synth-pop and new wave, while maintaining the post-punk edge that’s been his calling card.
Kennedy hasn’t made this journey alone. The album features a carefully curated ensemble of collaborators, including <a href="spotify:artist:2aRFZSOqICxAV9mBFPcnTz" data-name="Welcome to Ashley">Welcome to Ashley</a> alum Pete Javier, <a href="spotify:artist:52QgzwyRpxKpLW1baJPaSx" data-name="The Smoking Flowers">The Smoking Flowers</a> Scott Collins, classical pianist on "Sebastian and Jane" Marie Vavro, and saxophone on "I Will See You Again" by Larry Roy Sumner Jr. Their contributions add depth and texture to what might be Kennedy’s most personal statement yet.
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