Although there’s an astonishing amount of new music released every week, sometimes I need to scratch a specific itch. Back in 2007 I reviewed Robin’s album Footprint, after discovering his work on MySpace and was blown away. The tracks were often sensitive and heartfelt, layered on top of perfect melodies.

Recently, while going through the weekly list of new submissions, the name “Robin” drifted into my mind, an artist I’d reviewed before. Curious, I searched the site and found his full name. A further dig revealed that since Footprints, his third release, he’s put out a tremendous number of albums. If YouTube Music is accurate, Footprints was followed by at least fourteen more releases, making the 2022 album his eighteenth.

The album opens with "Go", a track that immediately surprised me given my earlier experience with Robin’s music. It’s far more upbeat than I expected, though a trace of melancholy lingers beneath the surface. That mood never takes over, though the vibrant instrumentation and confident arrangement keep it light and almost happy.

The Robin I remember comes back with "Like Me" and I mean that in the best way. The melody is straightforward, letting the lyrics carry the weight, and they do so with impact. I once compared Robin’s vocals to Michael Stipe, and I still hear that slight influence, though there’s also a touch of James Blunt in the phrasing and delivery.

Another acoustic guitar driven track, Sixty Minutes, reflects on the passage of time with a playful nod to Dorian Gray. It feels especially apt, as it’s been nearly 20 years since I last reviewed Robin’s music. In that time I don’t feel a day older in my mind, though my body might argue otherwise. A beautifully simple and evocative song.

"Chose" is more produced and layered, with drums alongside both acoustic and electric guitars. The overall tone is darker, adding depth and variety to the album. Listening to it makes me wonder what else I’ve missed in the many releases between this and the one I originally reviewed.

This style carries into "Looking At You", though with a noticeably lighter touch. The arrangement feels brighter, with gentler instrumentation and a more open rhythm that lifts the mood. There’s still that familiar thread of melancholy in Robin’s delivery, but this time it’s tempered by a quiet sense of longing, and perhaps the faintest suggestion of hope.

While I’ve enjoyed the more upbeat tracks, it’s the melancholy and downbeat songs that resonate most with me. "Only" stands out for its lyrics and storytelling. The delivery feels humble and honest, carrying a sadness that Robin conveys with quiet strength.

The melancholy continues with "Drifting". While many might prefer melancholy in small doses, for me there’s a certain appeal, a temporary suspension of the here and now, immersing in someone else’s sorrow and emerging with a sense that life isn’t quite so bad. That perspective probably makes more sense if you knew my teenage soundtrack, hours spent listening to The Smiths.

The tempo picks up again in "Cry Wolf". Musically and lyrically, it carries shades of Suzanne Vega, but it’s the track that resonated least with me. Not that it’s a bad song, simply that, in tone and style, it feels slightly out of step with the rest of the album.

"Still Got Tonight" brings another directional change, this time led by simple piano, and it works beautifully. The lyrics carry a subtle urgency against the slower piano, creating a gentle tension that propels the song forward. It evokes the feeling of many “last nights” before an inevitable goodbye, giving the track a quietly poignant weight within the album.

"Inside" is a more upbeat track, instantly reminding me of The Band’s "The Weight". It’s a nice song, but I find myself drawn more to the album’s downbeat moments. Perhaps after a few more listens, without my critical hat on, the track would feel more cohesive, but I’m not quite there yet.

Closing the album is "This Is Your Life", a nod to the old TV show where guests were greeted by Eamonn Andrews and his iconic red book. For some, it evokes recognition for the joy they bring to others; for others, it can feel like a bookend to a career, a goodbye they may not be ready to face. It’s certainly an evocative track and a fitting, memorable way to close the album.

I can remember discovering Robin and feeling so bowled over by his music. 20 years on and it was that feeling all over again. I just hope that like the previous track, this isn't a bookend and new music is on the horizon.

Just a note the album doesn't seem to be available on BandCamp at the moment, but you can stream it on YouTube Music. Hopefully Robin is able to remedy that in the near future.