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Martin Carr
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Martin Carr (born 29 November 1968) is an English musician and writer who was the chief songwriter and lead guitarist with the band The Boo Radleys. Born in Thurso, Scotland, he was raised in Wallasey, England.[1]
Early life and career
[edit]Carr was born in Thurso as his Mancunian father was working at the nuclear facilities at Dounreay at the time: the family moved to Merseyside when Carr was at a very young age. The first single he bought was "Message in a Bottle" by The Police.[2] Martin attended St. Mary's College, Wallasey Village, and played an early gig with The Boo Radleys at The Grand nightclub in New Brighton.[3]
After the breakup of the Boo Radleys, Carr launched a solo career, taking the name bravecaptain from a song by the U.S. rock band Firehose. His solo work has largely been more electronic based than his previous work, and mainly features himself on lead vocals, whereas in The Boo Radleys he rarely sang (despite writing the lyrics).
In 2008, Carr announced that he had recorded a new album in Cardiff with producer Charlie Francis and a few 'friends'. Martin Carr told music website The Quietus about his plans to release the album via the Bandstocks scheme.[4] By the start of the following year Carr had abandoned the Bandstocks project, later commenting to music industry website HitQuarters that "it needs a lot of work and commitment to try and find investors and I couldn't offer either."[5] Instead he released the album Ye Gods (and Little Fishes) in July 2009 on his own new imprint Sonny Boy Records, using the company State 51 for distribution.
In 2013 he provided the music for 'Snodgrass', a Sky Arts production, an imaginary scenario where John Lennon left The Beatles in 1962, Originally created by the writer Ian R MacLeod, the television adaptation was by David Quantick.[6]
Carr explained, during a September 2014 interview for BBC 6music, that he had all but given up hope of a career as a solo artist, and was working on TV themes and other commissions, when German label Tapete Records had contacted him. The label staff had enquired whether he had any material which they might release. This, and especially the relaxed nature of the request, led to his 2014 album The Breaks, and its debut single, "Santa Fe Skyway".
In October 2017, Martin released New Shapes of Life on Tapete Records.[7] The third album released under his name and his second with Tapete Records.[8]
When The Boo Radleys reformed he declined to be involved, noting:[9]
"I didn’t know there was a reunion until they’d already decided to do it. Sice had told me they were recording but that it wasn’t a reunion (I already knew they were in the studio because it had been on Twitter). He was keen for us all to meet up and talk it through, but I didn’t see what there was to talk about. This was after they’d made the album and got themselves a label and manager. Sice asked if I minded if he used the name and I told him that I’d gone 20 years without using it and I didn’t see why he should start now so, yes, I very much minded. Weeks later he got back in touch and told me he was doing it anyway. The other two have never contacted me. I’ve heard bits of the record, it’s not really my thing."
Personal life
[edit]In the early 2000s he was living in North London with his French wife, Hildy.[10] At the start of the next decade he was living in Cardiff and married to Mary Wycherley, where their tweets on the birth of their daughter was covered in a BBC news story.[11]
Carr was diagnosed with attention deficit hyperactivity disorder[12] and autism[13] as an adult.
In a 2021 interview he revealed he had a breakdown recording his 2017 album New Shapes of Life.[14]
bravecaptain discography
[edit]Albums
[edit]- Fingertip Saint Sessions Vol 1 (14 August 2000)
- Go With Yourself (Fingertip Saint Sessions Vol II) (9 October 2000)
- Nothing Lives Long, He Sang, Only The Earth and The Mountains (2001)
- Advertisements For Myself (14 October 2002)
- All Watched Over By Machines of Loving Grace (2 August 2004)
- allonewordsmallbee (December 2004)
- Distractions (January 2006)
Singles
[edit]- Better Living Through Reckless Experimentation (single) (19 March 2001)
- Corporation Man (single) (6 April 2001)
- Captain America (single) (20 August 2001)
- I Am a Lion (single) (29 November 2003)
- Distractions (30 January 2006)
Solo discography
[edit]Albums
[edit]- Ye Gods (and Little Fishes) (13 July 2009)
- The Breaks (26 September 2014)
- New Shapes of Life (27 October 2017)
- The Canton Hours (9 August 2025 on Bandcamp)[15]
Singles and EPs
[edit]- Eating the Afterlife (EP) (28 June 2004)
- Sailor/I Will Build a Road (single) (28 May 2012)
- Santa Fe Skyway (single) (31 August 2014)
- Gold Lift (single) (30 March 2017)[16]
- Future Reflections (single) (11 August 2017)
- Three Studies of a Male Back (single) (January 2018)
References
[edit]- ^ Larkin, Colin (2007). The Encyclopedia of Popular Music. Bish Bash Books. p. 2762. ISBN 9780857125958.
- ^ Alexander, Michael (31 August 2018). "Why Martin Carr of The Boo Radleys is too 'embarrassed' to perform the band's most famous track in Fife". The Courier. Dundee. Retrieved 21 September 2021.
- ^ "Martin Carr on The Breaks after The Boo Radleys". Liverpool Echo. 2 January 2015. Retrieved 15 February 2017.
- ^ "Martin Carr Tells The Quietus About Bandstocks Scheme". Thequietus.com. Retrieved 1 November 2014.
- ^ "Interview With Martin Carr". Hitquarters.com. Retrieved 14 September 2009.
- ^ Tyler, Kieron (26 April 2013). "https://theartsdesk.com/tv/playhouse-presents-snodgrass-sky-arts-1". The Arts Deck. Retrieved 28 October 2025.
{{cite web}}: External link in|title= - ^ Martin Carr [@martin_carr] (2 August 2017). "The album 'New Shapes of Life' follows in October and it doesn't sound like anything I've done before. This is as it should be" (Tweet) – via Twitter.
- ^ "Martin Carr – New Shapes of Life". Tapete Records. Retrieved 15 February 2017.
- ^ "The Strange Legacy and Unexpected Return of The Boo Radleys". Spin. 15 March 2022. Retrieved 28 October 2025.
- ^ Lester, Paul (4 August 2000). "After the Boos have gone". The Guardian. Retrieved 28 October 2025.
- ^ "Boo Radleys Martin Carr's partner's birth on Twitter". BBC. 8 June 2011. Retrieved 28 October 2025.
- ^ Carr, Martin [@martin_carr] (8 July 2020). "I was diagnosed with adhd last week, ending a lifetime search for the what the hell is wrong with me. More news as it sinks in" (Tweet). Retrieved 20 November 2024 – via Twitter.
- ^ Carr, Martin [@martin_carr] (16 February 2024). "@mrjamesob I want to call in but I know my head would empty. I was diagnosed at 50 (followed by an autism diagnosis). I left school with nothing. I was told I was stupid and lazy so often I internalised it. I've had depression since the age of 17. 1/2" (Tweet). Retrieved 20 November 2024 – via Twitter.
- ^ "An interview with Martin Carr of The Boo Radleys". jamesmcmahon.com. 31 January 2021. Retrieved 28 October 2025.
- ^ "The Canton Hours". Bandcamp. Retrieved 28 October 2025.
- ^ "GOLD LIFT | Martin Carr". Sonnyboy.bandcamp.com. Retrieved 20 June 2019.
External links
[edit]
Martin Carr
View on Grokipediafrom Grokipedia
Biography
Early life
Martin Carr was born on 29 November 1968 in Thurso, Scotland, the northernmost town in mainland Britain. His father, a Mancunian policeman, was stationed there working at the nearby Dounreay nuclear plant at the time, while his mother worked as a nurse. The family relocated to Wallasey on the Wirral Peninsula in Merseyside, England, shortly after his birth, where Carr spent his childhood in a working-class environment during the 1970s. He has a twin brother and was raised in a Catholic household influenced by his devout grandmother, attending church regularly until his early teens.[10][11] Carr's early exposure to music came primarily through his family's record collection and the radio. His father enjoyed rock acts such as Rod Stewart, Bob Dylan, and the Rolling Stones, while his mother favored crooners like Frank Sinatra and Chet Baker. One of his earliest memories is hearing The Beatles' "Hey Jude" on the radio as an infant in a pram at his grandmother's house in spring or summer 1969, which his uncle praised as a "beltin’ song." Throughout his childhood, Carr was content with mainstream pop and rock from the television and charts, without actively seeking out music until his mid-teens.[10][12] At around age 11 or 12, Carr met future collaborator Simon "Sice" Rowbottom at school in Wallasey, and the two bonded over shared interests in music, including The Beatles and The Stranglers, often discussing their dream of forming a band. In 1982, at age 14, Carr received his first guitar as a Christmas gift—alongside Sice—and was inspired by rock 'n' roll pioneer Eddie Cochran to pursue playing. However, the pair struggled with learning the instrument and initially set their guitars aside. Over the following years, they experimented with various short-lived band projects under different names, marking Carr's initial forays into songwriting and performance before any professional endeavors.[12][10]Career with The Boo Radleys
Martin Carr co-founded The Boo Radleys in 1988 in Wallasey on the Wirral Peninsula, England, alongside vocalist and guitarist Sice (Simon Rowbottom), bassist Tim Brown, and drummer Rob Harrison.[5] Initially drawing from shoegaze and noise-pop influences such as My Bloody Valentine and Dinosaur Jr., the band debuted with the album Ichabod and I in 1990 on the independent Action Records label, marking Carr's emergence as the primary songwriter and lead guitarist responsible for crafting the group's melodic structures.[13][2] The Boo Radleys gained critical momentum with their 1993 album Giant Steps on Creation Records, where Carr's songwriting blended psychedelic experimentation with diverse instrumentation, earning it Album of the Year honors from NME and Select while peaking at number 17 on the UK Albums Chart.[2][14] This success propelled a stylistic shift toward brighter pop elements, culminating in the 1995 release of Wake Up!, which topped the UK Albums Chart for one week and featured the top-10 single "Wake Up Boo!" at number 9, becoming one of the most played tracks on UK radio that year.[15][16][2] Follow-up albums C'mon Kids (1996, peaking at number 20) and Kingsize (1998, peaking at number 62) experimented with denser, more introspective sounds but faced diminishing commercial returns amid label transitions and internal pressures.[17][18][2] Throughout the band's trajectory, Carr's contributions as chief songwriter drove their evolution from underground shoegaze to mainstream Britpop acclaim, though challenges including mental health struggles, substance use, and dissatisfaction with pop expectations strained the group.[13] The Boo Radleys disbanded in early 1999 after Carr decided to quit during the recording of Kingsize in Morocco, citing burnout and a desire for new directions; the split was formalized in a band meeting in Liverpool, leaving members to pursue individual paths.[13][5]bravecaptain project
Following the disbandment of The Boo Radleys in 1999, Martin Carr adopted the pseudonym bravecaptain for his solo endeavors, drawing the name from a song by the American rock band Firehose to signal a deliberate break from his band-era identity. This shift allowed him to explore electronic and experimental sounds, marking a departure from the psychedelic rock of his previous work. Carr's motivations stemmed from frustrations with the band's creative stagnation and the pressures of group dynamics, which he cited as key reasons for the split: "The Boo Radleys split up because I didn’t like the music we were playing, and we had hit a brick wall in terms of progressing musically." Seeking greater personal control and anonymity under the pseudonym, he aimed to reinvent himself without the expectations tied to his Boo Radleys legacy, focusing on songwriting as a core strength: "I just wanted to do what I knew I could do – write songs." This period represented a transitional phase of experimentation, driven by a desire to escape commercial band constraints and pursue idiosyncratic visions inspired by artists like Brian Wilson.[19][20] During this time, Carr's creative process involved home-based production using accessible software like Fruity Loops to craft primitive electronica, often blending it with guitar-driven psych-pop elements for a lo-fi aesthetic. He emphasized self-releasing his material independently, relocating to Cardiff after the collapse of Creation Records to maintain artistic autonomy, and occasionally collaborating with engineers like Gorwel Owen for recording sessions in Anglesey. Live performances shifted to solo laptop sets incorporating breakbeats and techno elements, adapting to a more intimate, electronic format.[19][20] Thematically, bravecaptain's output centered on song-based electronica that integrated melodic structures with experimental textures, often infused with political undertones—such as critiques of advertising and authority—and a sense of "sweet melancholy" tailored for broader emotional resonance. Influences from acts like Prefuse 73 and Kid 606 informed this hybrid approach, prioritizing conceptual innovation over polished production.[19][20]Solo career
After a period of creative hiatus following the conclusion of his bravecaptain project, Martin Carr returned to music in 2009 with his debut solo album, Ye Gods (and Little Fishes), self-released and marking a shift back to structured pop songwriting characterized by intricate melodies and guitar-driven arrangements.[21][22] This release, recorded in his home studio in Cardiff, represented a deliberate reconnection with his songcraft roots after years of experimental electronic work, emphasizing personal narratives over abstraction.[7] Carr's solo trajectory gained momentum through key milestones, including signing with the German indie label Tapete Records in 2014 for his second album, The Breaks, which expanded his sound with organ and drum elements while exploring themes of isolation.[7] Subsequent releases like New Shapes of Life (2017), also on Tapete, further refined this evolution, incorporating rhythmic sophistication and disillusionment-infused lyrics.[23] In 2024, his debut album received a vinyl reissue via AV8 Records, remastered with new artwork to introduce it to broader audiences.[10] His most recent output, the 2025 album The Canton Hours on Sonny Boy Records, continues this trajectory with 14 tracks initially intended for a larger project but released as a standalone collection, followed by the single "onebyone" on October 3, 2025.[8][9] Throughout his solo phase, Carr has balanced music-making with fatherhood, often writing songs during quiet domestic moments and reflecting on how parenthood disrupted his previous "dreaming" creative mode while inspiring persistent output despite financial constraints.[24][19] Later works, including The Canton Hours, delve into personal reflection through themes of memory, identity, and existential introspection, drawing from his life experiences.[8] Post-2010, he has maintained an active live presence, performing with his band What Future at venues like O2 Academy Leeds and Le Pub, often featuring material from his solo catalog.[25][26] Collaborations have been selective, primarily with producers such as Greg Haver and Clint Murphy on singles like "Gold Lift," allowing him to retain control over his largely self-produced sound.[27]Personal life
Martin Carr is married to freelance photographer Mary Wycherley, with whom he has two children: son Sonny, born around 2009, and daughter Sailor, born in 2011 during a home birth in Cardiff that the couple documented live on Twitter.[28][29] In 2013, Carr reflected on the challenges and joys of fatherhood, describing himself as a doting parent while acknowledging the demands of raising young children. He noted that time had become his "biggest enemy," as parenting routines left little space for daydreaming or creative reflection, often requiring him to snatch moments for personal pursuits amid shared childcare duties with his wife. Simple solo activities, such as an hour of grocery shopping, provided rare relief, which he likened to a "proverbial mini-holiday" after years of family-focused errands.[29] Carr resides in Cardiff, Wales, where he balances family life with his professional responsibilities in a home environment that integrates domestic routines and creative work. During the COVID-19 lockdown, he attempted to write a book but abandoned the effort, citing the distractions of home life with his children as a key barrier to focused writing.[7][30]Musical style and influences
Influences
Martin Carr's early musical influences were rooted in rock 'n' roll pioneers, particularly shaping his approach to guitar playing. He has cited Eddie Cochran as a key inspiration for picking up the guitar, drawn to the raw energy and simplicity of early rock 'n' roll numbers like "Three Steps to Heaven."[10] During the 1990s, as the primary songwriter for The Boo Radleys, Carr drew heavily from shoegaze and noise-pop acts such as My Bloody Valentine and Dinosaur Jr., which informed the band's experimental, wall-of-sound guitar textures on albums like Giant Steps.[31] Concurrently, he incorporated pop influences from The Beach Boys, Simon and Garfunkel, Love, and The Flaming Lips, blending lush harmonies and melodic structures with psychedelic elements to create the band's signature eclectic sound.[2][31] In his later solo work and bravecaptain project, Carr expanded into broader indie and psychedelic territories, evident in nods to Love's orchestral psychedelia on albums like Ye Gods (and Little Fishes).[19] As of 2014 interviews, his contemporary favorites included indie rock band Spoon, French pop icon Serge Gainsbourg, Northern Soul compilations, The Land Observations' instrumental post-rock, and Young and Sick's synth-pop, reflecting a diverse palette beyond his earlier rock foundations.[32] Carr's influences evolved notably over his career, transitioning from the noisy, experimental pop of The Boo Radleys—fueled by shoegaze aggression and youthful confusion—to more reflective, guitar-driven songwriting in his solo output, where he emphasized bittersweet melodies and reduced electric guitar prominence in favor of Hammond organ and orchestral arrangements.[12] This shift was partly driven by a deliberate move away from the band's later directions toward electronic and dub explorations in the mid-2000s, before circling back to introspective indie pop.[19]Style and reception
Martin Carr's musical style with The Boo Radleys began rooted in shoegaze and psychedelic noise-pop, as heard in early works like Giant Steps (1993), before evolving toward brighter indie rock and Britpop-infused pop on Wake Up! (1995), where his songwriting emphasized exuberant, radio-friendly anthems blending brass, Motown beats, and optimistic melodies.[33][34] This shift, driven by Carr's desire to capture pop's accessibility while retaining experimental edges, earned the album critical acclaim as a "masterstroke" and propelled it to number one on the UK charts, with reviewers praising its "petulant, indulgent, optimistic" balance of uplift and underlying melancholy.[34] After the band's 1999 breakup, Carr's bravecaptain project marked a pivot to electronic experimentation, featuring lo-fi production, glitches, and unconventional song structures that infused psych-pop with primitive electronica and a pervasive sense of unshakeable melancholy.[19] In his subsequent solo work, Carr embraced lush guitar-pop, drawing on art-pop influences for suave, rhythmically robust arrangements with jangly melodies, baroque flourishes, and synth elements, as exemplified in The Breaks (2014) and New Shapes of Life (2017).[23] These albums received positive reviews for their sophisticated songcraft—Pitchfork lauding the latter's "redoubtable tunesmith" quality and emotional depth exploring disillusionment—while highlighting Carr's seamless blend of prog-folk, disco grooves, and jazzy textures.[23][35] Carr's oeuvre consistently showcases melodic songcraft, psychedelic undertones, and lyrics delving into emotional introspection, often reflecting alienation and personal turmoil, which has cultivated a dedicated cult following in the indie scene and cemented his reputation as one of the UK's most inventive songwriters.[12][2] His influence persists through the Boo Radleys' enduring legacy as a cult touchstone for 1990s indie innovation, with recent solo releases like The Canton Hours (2025) continuing to draw attention from niche audiences via self-release platforms.[8]bravecaptain discography
Albums
The bravecaptain project, led by Martin Carr, released five albums between 2000 and 2006, blending indie rock, electronica, and experimental elements on the Wichita Recordings label, with the final release self-distributed digitally. These works did not achieve commercial chart success but showcased Carr's exploratory songwriting.[36][37] The following table summarizes the albums, including release details and track counts:| Album Title | Release Date | Format(s) | Label | Key Details |
|---|---|---|---|---|
| The Fingertip Saint Sessions Vol.1 | 14 August 2000 | CD; Vinyl | Wichita Recordings (WEBB003) | 6 tracks; debut release exploring electronic and indie influences.[38] |
| Go With Yourself (The Fingertip Saint Sessions Vol. II) | 9 October 2000 | CD; Vinyl | Wichita Recordings (WEBB004) | 9 tracks; continuation of experimental sessions with psychedelic elements.[39] |
| Advertisements for Myself | 14 October 2002 | CD (digipak); 2× Vinyl | Wichita Recordings (WEBB030) | 19 tracks; expansive collection with satirical and introspective themes.[40] |
| All Watched Over by Machines of Loving Grace | 2 August 2004 | CD | Wichita Recordings (WEBB065) | 10 tracks; incorporates IDM and techno influences.[41] |
| Distractions | 30 January 2006 | Digital download (MP3) | Self-released (Betsi Bowen Records) | 8 tracks; final album, offered as a free download, focusing on indie pop.[42][43] |
Singles
The bravecaptain project released several singles during its active period from 2000 to 2006, primarily as promotional vehicles for accompanying albums. These releases were issued in limited formats, often on independent labels, and featured experimental indie rock and electronic elements without achieving commercial chart success in the UK.[36][44] The following table summarizes the key singles, including release details and track listings:| Single Title | Release Date | Format(s) | Label | Key Tracks and B-Sides |
|---|---|---|---|---|
| Better Living Through Reckless Experimentation | 2001 | CD single (digipak); 2×7" vinyl | Wichita Records (WEBB009SCD, WEBB009S) | A-side: "Better Living Through Reckless Experimentation" (3:19); B-sides: "The Canton Hotel (These Questions Are Very Easy)" (3:04), "Me And You Glue" (3:30), "Stronger" (5:46). This EP served as an early promotional release.[45] |
| Corporation Man | 2001 | CD single | Boobytrap Records (BOOB 007 CD) | A-side: "Corporation Man" (5:30); B-side: "Corporation Man Was Brought To You By The Makers Of Monkey Beer" (3:54). Issued as a standalone single with satirical undertones.[46] |
| Captain America | 20 August 2001 | 10" vinyl | Betsi Bowen Records (BC 01) | A-side: "Captain America" (8:09); B-sides: "Brave Captains' Blues" (3:23), "Let's Stick Together" (3:31). This limited-edition vinyl release featured an extended, psychedelic lead track.[47] |
| I Am a Lion | 29 November 2003 | CDr EP/single (numbered edition) | Self-released | Tracks: "I Am a Lion" (lead), plus three additional electronic and abstract pieces totaling 20 minutes. Released as a limited EP to promote the album All Watched Over by Machines of Loving Grace (2004), emphasizing the project's shift toward IDM influences.[48][49] |
Solo discography
Albums
Martin Carr's solo career under his own name began after a period of experimentation with the bravecaptain project, marking a return to more direct songwriting. His debut album, Ye Gods (and Little Fishes), was self-released on 13 July 2009 as a digital download, showcasing his refined pop craftsmanship through melodic hooks and layered arrangements.[50] The album was reissued on vinyl in 2024 by AV8 Records Ltd, bringing its intricate, harmony-driven tracks to a broader audience.[51] Following a five-year gap, Carr signed with Tapete Records for his second solo effort, The Breaks, released on 26 September 2014. This album delves into personal reflections on life changes, including the challenges of fatherhood and feelings of disconnection from the world, delivered through straightforward guitar-driven songs and introspective lyrics.[52][21][53] In 2018, Carr released The Heavens Reflect Our Labours (Live in Scunthorpe), a live album featuring Krugman, self-released on 6 April 2018 via Bandcamp. It captures performances from his 2017 tour, including expansive arrangements of Boo Radleys and solo material.[54] Carr's third studio album, New Shapes of Life, arrived on 27 October 2017, also via Tapete Records, exploring emotional depth amid family life and personal disillusionment, with sophisticated production blending electronic elements and robust rhythms.[7][23][55] Tracks like "Damocles" and "Future Reflections" highlight themes of vulnerability and renewal, influenced by Carr's experiences as a parent to his young children.[56][57] His most recent work, The Canton Hours, was independently released on 9 August 2025 through Bandcamp, comprising 14 tracks that offer an introspective examination of maturity, locality, and the passage of time.[8][58] Carr described it as a collection of songs developed over several years, initially intended as demos but refined into a cohesive statement on personal growth and rootedness.[58] Across these releases, Carr's production has evolved toward warmer, guitar-centric sounds, moving from the pop polish of his debut to the organic simplicity of The Breaks—featuring prominent guitars, organs, and drums—and the more textured, rhythmically assured layers in later works, emphasizing his maturation as a solo artist.[7][21][23]Singles and EPs
Martin Carr has released several solo singles and EPs throughout his career, often as promotional vehicles for his albums or standalone works, primarily through Tapete Records in the mid-2010s and self-released via Bandcamp in later years.[7] In 2014, to promote his album The Breaks, Carr issued two key singles: The Santa Fe Skyway, a promo CDr featuring the title track with its Stax-influenced dream-soul sound, and Mainstream, another promo single highlighting psychedelic pop elements.[59][60][61] The year 2017 saw a trio of releases tied to New Shapes of Life: the promo single Damocles, emphasizing its brooding atmosphere; Future Reflections, a digital single with a spacey piano-led ballad structure; and Gold Lift, an initial digital single inspired by political imagery, later reissued on vinyl in 2021.[62][63][64] Carr's output continued with the 2021 single Flames, a self-released track via Sonic Cathedral that marked his return after a four-year hiatus, featuring raw alternative rock energy.[65][66] In 2022, he released Strange Journey, a WAV file single self-released on Bandcamp, noted for its baggy indie pop style.[67][68] That same year, Carr compiled Crazy Faces (Songs for Snod 2012-2019), an EP-style collection of previously unreleased tracks spanning seven years, including "Crazy Faces" and "World in Action," released via Bandcamp as a reflective anthology.[69][70] In 2025, Carr released the standalone single "onebyone" on 3 October via Bandcamp, reflecting on themes of loss and isolation during lockdowns.[9]| Year | Title | Format | Label | Notable Tracks/Notes |
|---|---|---|---|---|
| 2014 | The Santa Fe Skyway | CDr, Single, Promo | Tapete Records | "The Santa Fe Skyway" – Lead single from The Breaks.[59] |
| 2014 | Mainstream | CDr, Single, Promo | Tapete Records | "Mainstream" – Second single from The Breaks.[60] |
| 2017 | Damocles | CDr, Single, Promo | Tapete Records | "Damocles" – From New Shapes of Life.[62] |
| 2017 | Future Reflections | Digital, Single | Tapete Records | "Future Reflections" – Ballad from New Shapes of Life.[63] |
| 2017 | Gold Lift | Digital, Single (later 7" Vinyl in 2021) | Self-released (initial) / Sonny Boy Records (vinyl) | "Gold Lift" – Politically inspired track.[64][71] |
| 2021 | Flames | Digital, Single | Sonic Cathedral | "Flames" – Post-hiatus return.[65] |
| 2022 | Strange Journey | File, WAV, Single | Self-released (Bandcamp) | "Strange Journey" – Baggy indie pop.[68] |
| 2022 | Crazy Faces (Songs for Snod 2012-2019) | Digital, EP (compilation) | Self-released (Bandcamp) | "Crazy Faces," "World in Action" – Anthology of unreleased material.[69] |
| 2025 | onebyone | Digital, Single | Self-released (Bandcamp) | "onebyone" – Standalone single on themes of loss.[9] |