MIKEY FERRARI - SPACEBOY EP
Mikey Ferrari’s debut EP promises an emotionally introspective journey into adulthood. Unfortunately, Spaceboy fails to blast off.
Spaceboy is the debut EP from Mikey Ferrari, which seeks to address the many anxieties of growing up in the modern age. Through the journey of its eponymous narrator Spaceboy, the LA singer/songwriter attempts to vocalise feelings of solitude, loss and juvenile melancholy. In the midst of an international pandemic, this EP had the potential to become the soundtrack of an isolated generation of young adults. However, while Spaceboy primes itself for a spectacular launch, it fails to boldly go where no man has gone before. At best it is esoteric and insipid, at worst faux-deep and clouded by a fatal lack of self-awareness. For a project so concerned about growing up, an accusation of immaturity is an ironic criticism.
Articulating feelings of emotional vulnerability is no easy task. However, it is hard to take Ferrari seriously when he complains about not being allowed out until he’s finished his chores, or “crying in the club”, not to mention the underlying “daddy” issues in the track ‘SPACEBOY.’ The tribulations of the character Spaceboy are pedantic and his privileged whining unwittingly trivialises the predominant themes of the EP.
In order to generate a detached and alien sound, Spaceboy relies on synths, percussion and distorted melodies. The opening track, ‘Moving Slow,’ succeeds in capturing an eerie sense of forlorn disconnection. However, this sound seems to follow a formula that favours musical familiarity over experimentation; Ferrari’s choice to play it safe grounds the listener rather than offering escape. In ‘SPACEBOY’ and ‘Moving fast,’ this same Lo-fi sound feels jarring and slightly repetitive, adding little value.
‘Lunar Light’ and ‘Wind Blows’ are a refreshing change of pace to the other tracks. They are softer songs, using acoustic guitar and lilting melodies to complement Ferrari’s powerful voice. They deliver an ethereal sound without overcomplication. However, the synth that is shoehorned in at the end of ‘Wind Blows’ feels inauthentic, suggesting that it has been tactfully welded onto a pre-existing song in order to make it ‘spacey’ and fit this theme. This illuminates a sense of dissonance present throughout the EP; Spaceboy feels less like a cohesive journey than it does a coincidental series of loosely connected songs.
Spaceboy is an ambitious project that unfortunately suffers from poor execution. There is no doubt that Ferrari is a talented vocalist and guitarist (regarded that you don’t listen too closely to what he’s actually saying.). It is when the electronic music compliments his vocals and guitar playing, as it does in ‘Standoff,’ where he truly excels. There are catchy motifs and enjoyable moments throughout the EP, but they are too few in number to fix it’s many shortcomings. Once Ferrari finds his own style and sound, I have no doubt that he will make a great artist. First however, he needs to first take his head out of the stars.
George Starkie
★★☆☆☆