East Shore Company is a solo project born of the creativity of Mark Watson and derived from influences from the pop-punk scene, which has been a reference point for Watson from an early age.
Watson started writing music in this genre early, releasing his first demo album “City Lights” while he was still in college. After leaving university and becoming a teacher, the writing focus in his songs changed, along with style and musical content, leading Mark to open up his creativity and experiment with other genres and instruments.
This process of artistic growth saw its first result with the 5-track EP titled “Footsteps“, and today builds its next-level stepping stone with a new release. With his most recent album “Coming Home“, in fact, East Shore Company offers us an interesting release made of 11 songs, in which Watson exhaustively dissects the founding elements of those genres that have been the musical protagonists of his life.
Listen now to “Coming Home” most recent album from East Shore Company, which is available on Spotify [ here ].
The album literally sounds like a fusion of sounds that are deployed along all the 11 tracks, which come out of diversified lyric stories and themes. It’s a series of slides depicting the artist’s journey and his past experiences.
“Autumn Trees” sounds like a real curtain that opens and introduces us with arms wide open to the development of the whole album, in what is a perfect introduction to the aforementioned choral vision. Added to this is a constant touch of freshness, which spans across the variety of genres through which Watson moves.
And although every song on “Coming Home” stands out very well in terms of characterization and style, it is the general vision that the album can boast that elevates the merit of this release. A quality that, at the same time, enhances the peculiarities differentiating each song from the next.
Like a flywheel that powers itself, the tracks of “Coming Home” have you listen to them effortlessly. One after the other, you will find yourself listening to the whole album as if you were drinking a glass of water in one gulp.
In the era of liquid music, purely focused on the release of disposable singles, this album may appear an ambitious project, if not out of fashion.
And yet, just as I type these words, the third re-listening of the whole of “Coming Home” has started. And the initial impression that this type of release is the exact squaring of the circle for the songs that contain it, is now a certainty.