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The eponymous debut record of renowned folk-rock veteran Kevin Harrison’s new project is entitled SLEEPWALKER, and it’s an interesting blend of genres. The sound of this whole new project aims to blur the lines between electronica, darkwave, synthpop, synth rock, and modern rock. With the release of this six-track EP, one can say that Harriosn succeeded in the aim of knowing having little to no genre or style boundaries.

We start off the record with the powerful track and leading single When The Lights Go Down. The track has an electronic beat playing the same way a drummer would play at a folk rock concert. The stompiness of the beat is complemented with synth accents at the end of every chord change during the verse, and the chorus shows a bigger and heavier vocal tone that’s further aided by the synthesizers and guitars to make a full wall of sound that seamlessly blends rock and electronic elements without a need for distinction between their respective ingredients. The bridge of this song had some claps and charming keyboards that kept it running through my head, and of course, the star of the show was Henson’s raspy overdriven edgy voice and the amount of emotion it conveyed with every word and every perfectly timed burst or scream.

The second track, Wake Me Up, continues the trend of exploring electronic territory…as this song was written years and years ago but has been replaced in this new version with a stripped-down pool of synthesizers and highly reverb-ed vocals. It’s so charming how the song is divided into a very folky intro followed by an almost purely electronic section. It’s an amazing buildup you’d have to listen to and experience on your own. The title track, Sleepwalker, is the track where Harrison shows off vocally the most…and rightfully so. He plays his guitars with a very bluesy back-and-forth pulsating kind of strumming pattern that works with his powerful vocals so well. There is a certain moment on the chorus where he switches registers from a strong chesty voice to a breathy and tender extended vowel which truly shines his vocal ability…it’s like this song was made for a cool movie. To top it all off, Harrison ends the song with a Floydian-style guitar solo that reminds us all why he is the rock and roll legend that he is.

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The following track, Burn, moves on to a more 70s-inspired sound. It’s like a collaboration between Muse and The Who. The vocals are once again the star of the show, but we don’t get a chance to think of them separately as they are accompanied by heavily effected guitars and an organ. The following song, Ghosts, has a similar collection of sounds but what’s very surprising about it is the buildup from the ambient intro into the haunting verses and the big chorus that while still electronic, pay homage to Ozzy Osbourne and Pink Floyd’s timeless classic Another Brick in The Wall. A beautiful mix of harmonious sounds and a blend of electronic rock that will go down in history as one of the most original and inspiring ones.

The record ends with the short guitar-driven instrumental piece, Delirium, which showcases all the tricks and gimmicks that we heard throughout the album, but this time in a more concise and forward way that leaves the listener with very clear memories of the elements that make this new project and sound an unforgettable experience. All in all, this is a record that’s filled to the brim with emotional vocals, insightful lyrics, and every sound or sound effect has a purpose…and this is what makes this amazing album worth so much more than the sum of its parts.