Eye

This was another artist I’d always heard about but never really explored. A few songs had made their way onto alternative radio over the years, but I’d never sat down with one of his albums front to back.

This record feels stripped down and intimate — almost like a collection of demos — built mostly around acoustic guitar and voice. At times it sounds like a devoted Beatles admirer channeling something closer to Plastic Ono Band: raw, skeletal, melody-forward. But Hitchcock isn’t just imitating; there are twists and unexpected turns throughout.

The songs that hit me hardest were the ones where melody, vocal delivery, and emotional clarity lined up. “Cynthia Mask” pairs a beautiful acoustic figure with eerie, slightly unsettling vocals. “Queen Elvis” carries a warm, swirling melody that reminded me a bit of Van Morrison’s mystic romanticism. “Flesh Cartoons” feels like it could have been an alt-rock pop hit if expanded beyond this spare version — the hook and riff are right there. “Executioner” leans into a darker, Lennon-style vocal intensity, while “Beautiful Girl” is just undeniably catchy. “Raining Twilight Coast” is haunting, “Agony of Pleasure” shows he understands the foundation of pop songwriting, and “Glass Hotel” might be the most gorgeous moment on the record.

Where I may fall short as a listener is in fully grasping Hitchcock’s more surreal or image-heavy lyrics. I tend to lock onto melody first, and when the emotional throughline isn’t immediately clear, some of the abstract elements can drift past me. That’s not a criticism of the writing — more an acknowledgment of how I listen. When his eccentricity is anchored by strong melodic structure, it really works for me. When it leans further into dream logic, I’m not always sure I’m catching everything.

Overall, I liked this quite a bit. It’s eclectic, melodic, and intimate — and it hits a real sweet spot when craft and mood align. Even if I don’t always decode the surreal corners, there’s enough beauty here to keep me engaged.