Lee Smythe – Do It Again

Lee Smythe presents Do It Again , a song with a relaxed and catchy rhythm that relies on a simple structure and a pleasant voice. The proposal is in line with great classical composers, without giving up contemporary elements that make it unique. Lee writes with intention and seeks to incorporate subtle progressive touches that surprise the deepest listeners. Retro production and the use of instruments that evoke bygone eras are combined with current lyrics, creating an interesting and accessible musical dialogue.

The song Do It Again feels like an intimate conversation that invites you to start over, to return to simplicity and authenticity in every note. The mix of classic and modern merges into a melody that is comforting and easy to listen to. With a style that avoids unnecessary complication, Lee Smythe manages to convey emotions directly. The result is a song that, without boasting, offers a space for the listener to feel understood and accompanied.

Bienvenido a la Nueva Ola #431 | Olie Beckett, Lee Smythe Y Wave Beam

Big Thanks to Glide Magazine!

glidemagazine.com/309741/listen-lee-smythes-do-it-again-reflects-on-the-past-via-jangly-folk/

The first single from the newly recorded 3rd album!

Hear it anywhere you listen to music.

Huge thanks to Jim Bergson

A musical icon in the making.

Recorded in Boston, MA at Buried Alive and The Record Co.

Sweet New England is out today!

It’s a 13 song collection of everything I’ve done out here in Boston over the years. It features my newest release, “The Low”, as well as “Don’t Say It’s Over Now”, the King Of Cups E.P., and includes all of the singles since the debut album, Of Dreams.

I can’t say anything about Boston that hasn’t already been said.

This Week’s Sonic Safari – Lee Smythe, Drew Elliott, Charlie Rogers, I Shiver, Nick Howe, Vandalisbin, Gray Hawken, Julesy, Stephen Flickner

Lee Smythe’s new single, “The Low,” is a hauntingly beautiful exploration of melancholy with the warm, nostalgic embrace of retro-sounding production. It frames echoes of alt-J through Bright Eyes, in a tale of lost glory and introspective sorrow perfectly matched by evocative lyricism and rich, folksy instrumentation from Smythe. With lyrics such as “Once I was king but it all went to spoil, / you could say that I messed it up royal,” the stage is set for this personal journey of regret and reflection. These are the qualities that will enable careful blending on Smythe’s part of classic songwriting with subtle progressive elements to conjure a sense of great familiarity and, at the same time, freshness before his audience.

“The Low” is steeped in Smythe’s pained vocal and melancholic melody, where the heartbreak just oozes out. The chorus is a brutal confession of feeling “all out of tears” and a wistful plea: “Momma, I have been falling for so long.” It is in the interplay between the dark, inward-facing lyrics and the contemporarily retro soundscape that a song like “The Low” becomes a standout track—the kind whose residue sticks around your ears long after the song is over. Lee Smythe can update the themes with the timeless folk aesthetic of a significant part of the singer-songwriter genre.

Lee Smythe’s “The Low” is a somber meditation on the aftermath of emotional devastation, delivered with the raw vulnerability of a confessional and the calculated precision of a craftsman. Smythe’s vocals, reminiscent of Conor Oberst’s quivering introspection, navigate a sparse instrumental landscape that teeters between indie rock’s penchant for atmospheric builds and slowcore’s patient, almost punishing restraint. The result is a track that feels both timeless and acutely of the moment, a study in contrasts that mirrors the song’s thematic exploration of the thin line between hope and despair.

Lyrically, Smythe demonstrates a knack for weaving complex emotions into deceptively simple phrases. Lines like “Once I was king but it all went to spoil / you could say that I messed it up royal” showcase a sardonic self-awareness that cuts through the track’s melancholy atmosphere. The repeated refrain of “run away heart” serves as both a plea and a warning, encapsulating the internal struggle at the core of the song. As Smythe wrestles with loneliness, fear, and the ghost of past happiness, “The Low” emerges as a powerful testament to the enduring human capacity for hope in the face of overwhelming darkness. It’s a song that lingers long after the final note fades, inviting repeated listens and deeper contemplation.

June New Releases: Part Five

“art rock and soft rock with a dash of classic songwriting”

Being a niche artist and writing in a sort of retro/oddball style in the days where pop, country, hip hop, and rock have all fused together, mostly gets me confused responses and questions as to why I choose this type of production and feel. That’s why it’s so awesome when I hear that someone really “gets it”!

Thanks folks.

LAST DAY DEAF

Lee Smythe‘s most recent single, Today Was, possesses the remarkable ability to transport listeners to a distinct time-space, reminiscent of the early to mid-70s, where simplicity and authenticity reigned supreme. The track effortlessly captures this essence, amalgamating art rock and soft rock with a dash of classic songwriting. Through its vintage production, graceful melodies, and playful atmosphere, the song emanates a lightheartedness that harks back to a bygone era. This amalgamation of elements results in an absolute gift to the ears, evoking a sense of nostalgia and musical enchantment that resonates deeply.

Beat The Delete #0163 (weekly new music recommendations)

60s melodies and pop stylistics, washed around with the best retro production and jangled riffs imaginable. One of the catchiest singles of the year so far.

Lee Smythe – Come On

I can see that it’s happening. Why can’t we just be like everyone else? I shouldn’t be laughing, but how long can we keep on hurting ourselves? Just give me your hand, dear. I’ll lay it right here on top of my chest. See how i’m breathing? Take a breath, when you feel me taking a breath. Come on! We’re maybe in trouble, always hiding our lives and feeling ashamed. Have we become monsters? We’re taking to see just how much we can take. Beholden to no one, we figured we’d land somewhere in the stars. But this is too much now. I’m scared that i’ll never forget about us. Come on! Breathe in, breathe out with me. Your head against my shoulder. Breathe in, breathe out with me. This dream will soon be over. It’ll be over soon.

Recorded at Buried Alive, Boston, MA. Engineered and Produced by Edgar Camey and Greg Cortez Mastered by Joe Bozzi

NEW MUSIC COMING SOON!! SEPTEMBER 2 2022, THE DEBUT OF “OLD RATTLESNAKE”

PRE-SAVE IT HERE!

Here’s my newest song folks!

Leavin’ Him Now – Lee Smythe

I wait for your call tonight. You say he don’t treat you right. I hope that you see the light. You tell me it just takes time. You say that you’re leavin’ him now. I just keep waiting around. You know that you bring me down. I’ll tell you, “It’s him or me, just set me free now!” I don’t need a game to play. So don’t lead me on this way. I said all that I can say. And I think you should leave today. You say that you’re leavin’ him now. I just keep waiting around. You know that you bring me down. I’ll tell you, “It’s him or me, just set me free now!” You say that you’re leavin’ him now….

Recorded at Buried Alive, Boston, MA. Engineered and Produced by Edgar Camey and Greg Cortez Mastered by Joe Bozzi

2021 Jungle Strut Music

This one was inspired (only inspired) by a friend who DJs and has toured for years, and some of my own experiences too I guess. It’s always hard to be gone, no matter who you are or what takes you away. Maybe this one started out to be about the one leaving, but ended up being about the one that stayed behind.

Girl At The Rock Shows reviews the album Of Dreams!

This album closes out with the title track, “Of Dreams”. I like that this track closes out the album in a sound that’s similar to what got it started. That grainy and retro vibe comes back to the forefront almost flirting with turning to psychedleic at times.

A collection of recent singles, including the studio and live versions of the song Don’t Say It’s Over Now.

The E.P. came from a group of songs that didn’t fit the idea of the first album. It’s like writing a set list, or telling a story, and there’s always songs to go with. Recorded and produced, in Boston and Los Angeles by myself, Greg Cortez and Edgar Camey. The album is the second release on Jungle Strut Music.

Additional instruments/keyboard by Wyatt Brown.

https://www.divideandconquermusic.com/indie-music-album-reviews/lee-smythe-we-should-go

Earlier this year Lee Smythe received top album honors for his release Of Dreams. The album contained palatable indie rocks gems that were repeat worthy. More recently he released “We Should Go” which is a single.

Smythe’s ability to create an infectious hook is just as apparent here as it was on his album. What I like about Smythe’s songwriting is not only the melodies but his sense of aesthetics. On “We Should Go” he melds striking piano with bass and drums. Some of the aesthetics are in the details. The piano sounds a little like a harpsichord and there seems to be some kind of reverb that surrounds the notes when he hits one.

The descending bass line works wonders on the verse. The groove sounds contemporary but almost with a hint of romantic classical. I was trying to figure out what instrument was making the white noise on the chorus which I felt was an essential ingredient. At any rate, whatever the instrument it works to make the song feel like a certified single and adds to overall emotional resonance.

Lyrically, Smythe builds a very straightforward narrative. This song is essentially a love song and a very optimistic one at that. If he doesn’t paint a tale of true love I’m not sure what is. Smythe also explores the idea of salvation. Lines like, “But your mother hates me, and she loves to tell me so. And people say we don’t fit in, so I’m saying we should go” yearn for a better tomorrow.

​I think this concept is one most people are familiar with. If you’ve ever been young and in love there is a good chance you had a discussion about leaving and starting somewhere anew. It’s an exciting idea based on adventure and possibilities. I would say this song not only captures that with the words but with the instruments that surround it as well.

Hear “Don’t Say It’s Over Now” on Spotify, iTunes, or wherever you listen to music!!!

Lee Smythe – I Need You

April 2, 2017  Music

Lee Smythe’s “I Need You” possesses a light and airy sound, one imbued with optimism. With a tender quality to it the way that the song unfurls gives it a quiet sense of power. Right at the heart of the track are the lovelorn lyrics, which serve as the soul of the sound. Articulate to their very core, the narrative of the song has a poetic quality to it. Vocals help to deliver everything with just the right level of passion. Instrumentally rich, Lee Smythe allows for great variety, moving from guitar to piano.

The nimble guitar work introduces the album on a sunny note. Right from the earnest delivery of “alright” the song settles into a sweet swing. Percussion has a brisk, emotive quality to it. His vocals rise above the sound, dreamy in temperament. From far away elements of a western twang come into view. With the entire band in complete sync the small details add up tremendously, from the gentle banjo work to the graceful keyboards. Gradually Lee Smythe includes a greater array of color within the composition, for a sense of a hope develops over the course of the piece. By the very end of the song everything simply comes together in a glorious sea of sound.

On “I Need You” Lee Smythe creates a sound that has a vaudeville quality to it for the song comes into bloom and blossoms with the greatest of ease.