(OOC: Huge thanks to BrownSugar for the incredible artwork)

Title: Coastlines
Artist: Jack Dunn
Release Date: February 15, 2026
Recorded: Head South Recording Studios, Brighton, England
Genre(s): Alternative Rock, Singer-Songwriter
Length: 53:31
Label: Head South Records
Producer(s): Jack Dunn, Quentin McEwan

“Coastlines” is the debut studio album by English alternative rock singer-songwriter Jack Dunn, released on 15 February 2026 through independent label Head South Records. Recorded over a two-year period between January 2024 and December 2025, the album marks Dunn’s first full-length body of work following his signing to the Brighton based independent record label Head South Records in late 2023. Highlighted as a promising young British artist, blending alternative rock instrumentation with introspective singer-songwriter lyricism, Dunn has already seen his stature rise exponentially with the release of five singles from his debut album, while "Coastlines" further adds to his ever growing reputation, it establishes Dunn as a prominent emerging voice in modern music.

Ahead of the album’s release, Dunn has showcased five singles from the record, “Lowlife”, “Silence So Loud”, “Sleeping Rough”, “Chip Off The Old Block” and “Coastline”, each of which reached number one on the Weekly Airplay charts with his reputation growing further with each release. The singles received widespread praise for their emotionally charged and nostalgia-driven lyricism, often centred on Dunn’s upbringing in a working-class community in the North East of England. Addressing themes including ambition, generational identity, family relationships, economic hardship and social commentary, the songs have all contributed to a much bigger anticipation surrounding the album’s release than was initially expected by Jack Dunn or his record label Head South Records.

The commercial and critical momentum generated by the singles saw Dunn rise rapidly from relative obscurity to being described by commentators as one of the UK’s most promising alternative rock artists. Coastlines spans 12 tracks and runs for 53 minutes and 31 seconds. The album was recorded entirely at Head South Recording Studios in Brighton, England, and was produced by Dunn alongside Head South Records chief executive and head scout Quentin McEwan. Engineering was handled by Lewis Richardson, with mixing duties shared between Dunn, McEwan and Charlie Willis.

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Background & Recording;

Following a number of years travelling up and down the UK performing in pubs and bars with little recognition or traction, Jack Dunn took the opportunity to perform at an open-mic showcase for record label Head South Records back in late 2023, performing a cover of “The Needle and the Damage Done” by Neil Young and “Lost in the Supermarket” by The Clash as well as his own original track “Lowlife”, Dunn was signed to Head South Records on a developmental recording contract. He quickly re-located to Brighton, England to be closer to the labels recording studio as he started working on songs that would eventually go on to form the nucleus of his debut album. Lead single “Lowlife” was released in January 2024 as his debut single and it’s gritty and raw lyrics about growing up as a street kid in the North of England and being looked down on as something lesser than others captivated listeners early on, helping the song to peak at number one on the Weekly Airplay charts and provide a hit single for Jack Dunn at the first time of asking.
He would go on to release four more singles as a lead artist in the two years that followed, gaining more and more momentum and recognition along the way as one of the most promising young artists and songwriters in modern music with singles, “Silence So Loud” tackling themes of male suicide, “Sleeping Rough” which focussed its intentions on the homelessness crisis in the UK, written in support of his friend Riley Hamilton’s ‘Beeston Community Hub Project’, “Chip Off The Old Block” that tackled father and son relationships and “Coastlines” which tackled the more traditional themes of young love, mixed with youthful ambition. All of which helped showcase Dunn as a prominent songwriter, unafraid to tackle poignant and relevant subject matter.

All while releasing those singles, Dunn continued to work on his debut album as a whole, opting not to overly promote himself and making a point to have a gap between single releases rather than releasing a steady stream of material and capitalising on their success. Throughout the process, Jack Dunn hasn’t done long form interviews or podcasts to promote himself, keeping a very low profile as he worked hard behind the scenes on his album, preferring to allow his work to do his talking. The process of recording his debut album was one that he took patiently and seriously, allowing himself to find the right songs that fit the overall tone of the album. Much of the album’s lyrical content draws inspiration from Dunn’s upbringing on the North East coast of England, addressing themes of economic hardship, generational identity, personal resilience and the complexities of modern working-class life.
In the one major interview ahead of the album’s release with Rolling Stone UK, Dunn described “Coastlines” as “A record about survival and hope, it’s about the places that shape you and the people you carry with you.” While the album’s title reflects both literal and metaphorical interpretations of coastlines as boundaries, transitions between land and sea acting as a metaphor between where you come from and what’s out there in the wider scope of things and as a literal common space of reflection.

“Coastlines” was recorded at Head South Recording Studios in Brighton, England. With recording sessions taking place intermittently between early 2024 and late 2025, allowing Dunn to really take his time to form the best possible version of the record. The album was produced by Jack Dunn and Quentin McEwan, with engineering handled by Lewis Richardson and mixing duties shared between Dunn, McEwan and Charlie Willis.
Musically, the record features layered guitars, driving rhythmic sections, occasional piano, keyboard and synthesizer elements, bass and rhythm guitars and backing vocalists as Dunn was joined by a cast of musician friends that form the basis of his backing band, with band members including Cherrie Williams, Jamie Whittaker, Ryan Hardy, Andy Wilbur-Jones and Oliver Kershaw. Some of which have long standing connections with Dunn from his time back home in the North East of England while others were brought in during the recording sessions, forming a musical relationship with Dunn that is likely to extend into his supporting slot on the upcoming Ryan Ross Hernandez world tour.
Musically, “Coastlines” primarily combines alternative rock instrumentation with melodic singer-songwriter sensibilities. The album balances high-energy tracks such as “All Fired Up”, “Something In The Sky” and “Brighter Days Ahead” with more contemplative tracks including “Silence So Loud” and “Where Those Dreams Are Left to Die”. While lyrically the album explores themes of ambition, frustration, generational legacy, homelessness and social identity, it tries to find a balance between raw reality and a positivity where possible.

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Tracklisting;

01. All Fired Up (4:17)
02. Tough Around Here (4:38)
03. Lowlife (5:24)
04. Something In The Sky (3:18)
05. Kids on the Moor (3:58)
06. Good Lad (4:22)
07. Silence So Loud (4:17)
08. Where Those Dreams Are Left to Die (5:02)
09. Chip Off The Old Block (5:04)
10. Sleeping Rough (4:57)
11. Brighter Days Ahead (4:56)
12. Coastline (5:18)

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Singles;

Lowlife (January 20, 2024) [#1]
Silence So Loud (October 23, 2024) [#1]
Sleeping Rough (December 28, 2024) [#1]
Chip Off The Old Block (October 31, 2025) [#1]
Coastline (January 25, 2026) [#1]

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Credits & Personnel;

CREDITS

Produced by Jack Dunn, Quentin McEwan
Engineered by Lewis Richardson
Mixed by Jack Dunn, Quentin McEwan, Charlie Willis
Recorded at Head South Recording Studios, Brighton, England, United Kingdom
Production Manager: Quentin McEwan

PERSONNEL

Jack Dunn – vocals, lead guitar, piano, lyrics, composition, production, mixing
Cherrie Williams – rhythm guitar, synthesizer, keyboards, backing vocals, composition
Jamie Whittaker – bass guitar, backing vocals, composition
Ryan Hardy – bass guitar, composition
Andy Wilbur-Jones – drums, percussion, composition
Oliver Kershaw – drums, percussion, composition

Lewis Richardson – engineering
Charlie Willis – mixing
Quentin McEwan – production, mixing, production management

Track: #02
Title: Tough Around Here
Artist: Jack Dunn
Genre(s): Alternative Rock
Length: 4:38
Studio: Head South Recording Studios, Brighton, England, UK
Writer(s): Jack Dunn
Producer(s): Jack Dunn, Quentin McEwen
Label: Head South Records

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Song Description;

The track opens with a low, driving combination of guitars accompanied by a soft drumming beat underneath it. After a few seconds an electric lead guitar line comes into play as the epicentre of the music, adding a little energy and urgency to the track while the drums sit back quietly pulsating the song along. As the vocals from Jack Dunn arrive, the production allows him to be heard clearly above the sound around him, his voice melancholy, full of emotion and passionate fire at the same time, “Grew up where the steel rusts quicker than their promises/Where sirens sang us to sleep at night/With police bogged down in bureaucratic tape/Mam’s fucking wrecked from another sixty hour work week, drowning in unpaid overtime/Dad’s back bent and broken just to help scrape us by.” which sets the tone for a vivid depiction of the working class and being brought up in an environment where you have to fight just to survive, pushed further as Jack’s vocal rises during the second half of the opening verse, almost breaking into a passionate roar, “Schoolyard law was the loudest voice/Learned early how to take a hit/Teacher said, “Just keep your head down, son”/Dad said “Don’t be afraid to take a swing at the little shit”/Pulled in both directions/Not sure of which.” the passion of Jack’s delivery giving a feeling that he’s reliving these moment while telling them. The combination of restraint in the arrangement contrasted to the passion and underlying anger in his vocal delivers a powerful opening verse.

A brief instrumental break leads into a pre-chorus and chorus combination, where the song pulls back slightly. The drums continue to be simplistic but the guitars are highlighted during this period, their driving and energetic as the song moves forward. Jack’s vocal tone becomes slightly softened, his brooding higher register shining during the pre-chorus in particular, like a wail of years of agony and frustration, “They said that it’s just the way it goes/Some people were born to lose/But I watch my parents work their finger to the bone/While the bills kept coming through.” as he focusses in on the working class perspective, constantly beaten down by a system that has failed them.
When the chorus hits, the track fully erupts. The drums pound into rhythm and the guitars can be heard sounding out like something from an established stadium-sized rock act. But it’s the inclusion of a saxophone blare throughout the chorus, combining perfectly with Jack’s vocal to really flesh out the musicality of the track as he sings alongside it, “It's tough around here, yeah, your skin hardens fast/Learn when to run, learn when to stand/I was young but I learned real quick/How to fight back with these trembling hands/Knowing they don’t see us/They don’t care/We’re just numbers, every year/But you grow a backbone, grow a spine trying to survive/Yeah, it’s tough around here/To keep yourself alive.” which creates a huge anthemic and catchy sing-along chorus moment for the track that feels tailor made for the touring circuit.

We arrive at the second verse which maintains the momentum of the chorus, propelled by the sheer musicality and noise, it doesn’t let up as Jack elaborates on the songs overriding theme with further detail that feels taken from his own personal diaries. Again, the emotion can be heard in his voice as it rises high about the musical backdrop, “First punch thrown wasn’t about pride/Just got tired of feeling small/Every insult felt like a personal attack on the people I love/Didn’t ask for trouble, but I answered the call/They say there’s help if you ask/But all I’ve ever seen are doors closed/Same streets raising broken boys for all these years/Same speeches, same thoughts.” as the sound of the saxophone and guitars weave in and out, blending perfectly with the vocal melodies from Jack but never rising above it. Which is followed once more by the pre-chorus and chorus combination.
The final verse of the song follows but the tone becomes more subdued and stripped back, the drums fall away from their previous intensity and the guitars soften while the saxophone sound is nowhere to be heard. It serves a purpose to strip the song back and leave space for Jack to deliver the songs most brutally real and affecting moments as the tone shifts from anger to clarity, acknowledging the unfairness of the system without asking for sympathy, “I don’t want pity, I don’t want praise/Just a fair shot, just a break/If hard work paid what they said it did/My parents wouldn’t have lived their entire lives afraid/Taught to fight for everything/Even peace of mind/And I still carry that hunger with me everywhere/Like a bruise I can’t ever leave behind.” which delivers an emotive high point towards the end of the song, a call to arms and a message to the powers that be about the struggles of the everyday worker. Adding a sense of vulnerability and resilience at the same time. While the songs chorus comes into play once more, lifting the energy once more and putting anger and passion as the lasting impression of the track as it comes to a close.

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"Tough Around Here"

“Grew up where the steel rusts quicker than their promises
Where sirens sang us to sleep at night
With police bogged down in bureaucratic tape
Mam’s fucking wrecked from another sixty hour work week, drowning in unpaid overtime
Dad’s back bent and broken just to help scrape us by
Schoolyard law was the loudest voice
Learned early how to take a hit
Teacher said, “Just keep your head down, son”
Dad said “Don’t be afraid to take a swing at the little shit”
Pulled in both directions
Not sure of which

They said that it’s just the way it goes
Some people were born to lose
But I watch my parents work their finger to the bone
While the bills kept coming through

It's tough around here, yeah, your skin hardens fast
Learn when to run, learn when to stand
I was young but I learned real quick
How to fight back with these trembling hands
Knowing they don’t see us
They don’t care
We’re just numbers, every year
But you grow a backbone, grow a spine trying to survive
Yeah, it’s tough around here
To keep yourself alive

First punch thrown wasn’t about pride
Just got tired of feeling small
Every insult felt like a personal attack on the people I love
Didn’t ask for trouble, but I answered the call
They say there’s help if you ask
But all I’ve ever seen are doors closed
Same streets raising broken boys for all these years
Same speeches, same thoughts

I saw the weight upon my mother’s face
Every time the rent went up
Saw my father always blame himself
For a system that was just never built for us

It's tough around here, yeah, your skin hardens fast
Learn when to run, learn when to stand
I was young but I learned real quick
How to fight back with these trembling hands
Knowing they don’t see us
They don’t care
We’re just numbers, every year
But you grow a backbone, grow a spine trying to survive
Yeah, it’s tough around here
To keep yourself alive

I don’t want pity, I don’t want praise
Just a fair shot, just a break
If hard work paid what they said it did
My parents wouldn’t have lived their entire lives afraid
Taught to fight for everything
Even peace of mind
And I still carry that hunger with me everywhere
Like a bruise I can’t ever leave behind

It's tough around here, yeah, your skin hardens fast
Learn when to run, learn when to stand
I was young but I learned real quick
How to fight back with these trembling hands
Knowing they don’t see us
They don’t care
We’re just numbers, every year
But you grow a backbone, grow a spine trying to survive
Yeah, it’s tough around here
To keep yourself alive”

Track: #04
Title: Something In The Sky
Artist: Jack Dunn
Genre(s): Alternative Rock
Length: 3:18
Studio: Head South Recording Studios, Brighton, England, UK
Writer(s): Jack Dunn
Producer(s): Jack Dunn, Quentin McEwen
Label: Head South Records

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Song Description;

The tracks opens with the brooding and moody sound of guitar reverb, it’s quickly followed by a pulsating drum beat underneath which sets the tone immediately that this is a punchy rock track with elements of punk scattered throughout. The guitar line is aggressive and urgent sounding which helps set the tone for the songs lyrics and themes, rooted in working-class pride and youthful defiance and ambition. When the opening lyrics arrives, it’s unmistakably Jack Dunn from his singing tone to his instantly recognizable songwriting style, “There’s a hum of activity down the high street, neon reflected in puddles of rain/Old mates laughing and drinking, talkin’ bout those days again/We were all broke but we were out there blazing/Hearts on fire, no one could explain it/How the fuck we ever made it out of this town alive.” which serves it’s purpose in setting the tone and theme, feeling full of imagery that’s vivid, grounded and unmistakably from the heart of Northern England. The instrumentation is minimal, allowing the traditional drum and guitar combination to give the song the punch that it’s lyrical content requires.

The pre-chorus pulls the opening verse and chorus together, it’s brief and catchy while adding an additional layer to the track, the drums settle briefly into a rhythm more than an aggressive fast-paced pounding which allows a little more softness in Dunn’s vocal delivery on this one, enhancing the emotional pull of the words, “Mam’s still grafting, I’ll bet Dad’s still proud/They said people like us don’t make it/But just look at me now.” which feels oddly prevalent given the debut run that Jack Dunn has had in the build up to this album. But the pre-chorus serves its role perfectly, to lead into the chorus.
The chorus arrives and surges the song forward, giving the track the feeling of a bigger scope than the instrumental run in the opening verse, there’s additional layers with rhythm and bass guitars coming into the fold to flesh out the musical backdrop a little more as Dunn sings anthemically over the sounds, “There’s something in the sky tonight/And we’re just running through the amber light/Whole world beneath our feet/We’ve got the feeling that we can’t be beat/Yeah, we’ve been down before, but we’ve never been this high/Wake me up in the morning light/Where all of our scars and stories align/There’s something in the sky.” it’s the sort of big singalong chorus that will serve Dunn well when the inevitable solo stadium tours and festival performances come around, it’s got the catchy punch required to get arms in the air and chest thumping euphoria while it’s lyrical content are drenched in youthful ambition that again, feels tailor made to that summer concert crowd.

The second verse dials things back just slightly, the rhythm and bass guitars fall back into the distance while the drums and guitar drive the song forward once more, the sound and energy of the track seemingly it’s primary selling point as Dunn adds a personal and autobiographical layer to the track, “We were just kids with a dream and a pre-owned van/Busking for change, hand to hand/Every fall was a lesson learnt/Every bruise was a confession burnt/All I know is that the fight was worth the pain.” which feels triumphant given what we know about how the singers career has progressed up to this point, but it gives fans an opportunity to get a brief glimpse into the period that preceded what we’ve come to know. Where the chorus beats it’s chest and sings triumphantly about ambition the lyrical content of the second verse makes a point to let it be known that it’s not the easiest grind to get to that point.

Another pre-chorus and chorus combination comes in before a brief bridge which leads into a pre-chorus and chorus combination to see out the song. The bridge follows the same structure of the pre-chorus, instrumentally. While Dunn attempts to add just an additional small layer, hinting at what the future may hold if he doesn’t quite achieve the loftiest of ambitions, but highlights his content in his own authenticity, “Maybe we’ll never be kings/But these are the only songs that I wanna sing/This is more than enough/This is everything.” which is brief, but a poignant moment of reflection before the songs build up into the pre-chorus and chorus combination to close things out in a triumphant and anthemic way.

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“Something In The Sky”

“There’s a hum of activity down the high street, neon reflected in puddles of rain
Old mates laughing and drinking, talkin’ bout those days again
We were all broke but we were out there blazing
Hearts on fire, no one could explain it
How the fuck we ever made it out of this town alive

Mam’s still grafting, I’ll bet Dad’s still proud
They said people like us don’t make it
But just look at me now

There’s something in the sky tonight
And we’re just running through the amber light
Whole world beneath our feet
We’ve got the feeling that we can’t be beat
Yeah, we’ve been down before, but we’ve never been this high
Wake me up in the morning light
Where all of our scars and stories align
There’s something in the sky

We were just kids with a dream and a pre-owned van
Busking for change, hand to hand
Every fall was a lesson learnt
Every bruise was a confession burnt
All I know is that the fight was worth the pain

Mam’s still grafting, I’ll bet Dad’s still proud
They said people like us don’t make it
But just look at me now

There’s something in the sky tonight
And we’re just running through the amber light
Whole world beneath our feet
We’ve got the feeling that we can’t be beat
Yeah, we’ve been down before, but we’ve never been this high
Wake me up in the morning light
Where all of our scars and stories align
There’s something in the sky

Maybe we’ll never be kings
But these are the only songs that I wanna sing
This is more than enough
This is everything

Mam’s still grafting, I’ll bet Dad’s still proud
They said people like us don’t make it
But just look at me now

There’s something in the sky tonight
And we’re just running through the amber light
Whole world beneath our feet
We’ve got the feeling that we can’t be beat
Yeah, we’ve been down before, but we’ve never been this high
Wake me up in the morning light
Where all of our scars and stories align
There’s something in the sky”

Track: #06
Title: Good Lad
Artist: Jack Dunn
Genre(s): Alternative Rock
Length: 4:22
Studio: Head South Recording Studios, Brighton, England, UK
Writer(s): Jack Dunn
Producer(s): Jack Dunn, Quentin McEwen
Label: Head South Records

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Song Description;

The track opens with the sound of faint room noise, Jack Dunn’s voice can be heard for a couple of seconds before a count in signals a strong lead guitar riff, with a memorable tone to open up the track. Drums quickly join the fray and they appear to be the primary combination for the opening for the track before Dunn’s vocal delivery begins with an energetic tone, “They’d tell us to be strong and don’t make a fuss/Don’t you know boys don’t cry/Taught from the minute you learn your own fucking name/They get you understanding how to laugh it off/Every bruise, every shame/Sunday mornings, borrowed smiles/Don’t dig too deep/“You alright?” met with “Yeah, I’m sound”/You’re hurting but you swallow it, don’t wallow in it/Cause that’s how good lads are found.” that delivers an immediately recognizable style that Dunn has already perfected, grit and emotional honesty taking from tales of everyday lives. The vocal from Dunn doesn’t feel overreaching or flashy, more natural and conversational as the guitars begin to swell and rise towards the end of the opening verse.

The music backdrop begins to introduce additional elements as the songs pre-chorus arrives, the sound of a bass underneath the entire things adds a sense of stability and timing to things as Dunn extends on the ideas of the opening verse, making it evidently clear that this is a track tackling the topic of toxic masculinity and traits of just pushing through difficult moments in order to avoid a difficult conversation, “You carry the weight like it was all just yours/Like asking for help was a crime/They tap you on the shoulder and said/“Man up, son, you’ll be fine”. there’s a subtle harmony, a female voice just faintly heard in conjunction with Dunn’s which adds a subtle touch of tenderness if you’re willing to listen close enough.
The chorus hits and it arrives with a giant surge, the lead guitar line dominating the soundscape but the aggressive drum beat following in a similar vein. There’s additional guitars adding to the sound and background vocals creating a larger scale in terms of musical sound as the chorus feels built to be sung back as loudly as possible, Dunn takes the opportunity to elaborate further on the songs overall theme, “He was a good lad, never complained/Always held it together, shouldered the blame/Always the joker, always the glue/Until those cracks came through/They just assumed he had it all handled/But nobody checked that their assumptions were true/Yeah, he was a good lad/At least that’s how he seemed/To me and you.” which gives the combination of the instrumentation rising around him, creating an almost wall of sound type of vibe which mirrors the intensity of Dunn’s vocal and the build up in urgency in the songs lyrical content as it puts focus on a mentality that Dunn clearly feels affected by.

The second verse wastes no time grasping the momentum of the chorus, the bassline feels a little more prominent now, bringing the song forward with a rhythmic urgency while the drums maintain a steady drive. The guitar tone falls back slightly as the drum and bass combo add an extra feeling of dramatic intensity as Dunn takes the second verse as another opportunity to get his message across in story form, “You like the pub noise loud when the feelings low/Honesty from pints comes in flows/Tears turned into punchlines just to make it feel alright/Avoid any semblance of real/Just to make it through the night/We were always warned about weakness/Like it’s some sort of illness you can fucking catch/So you’d lock it deep in your chest/Double bolt, lock the latch.” which is delivered with an aggressive and angry tone from Jack Dunn, hinting at his anger at someone for keeping his feelings bottled up.
There’s another pre-chorus and chorus combination, with Dunn altering the pre-chorus lyrics slightly, “You learned how to disappear/In a room full of friends/Smiling through the silence/Hoping it would end.” which adds a further touch of seriousness to the story that he’s telling, hinting at the worst possible outcome that can arise from this unwillingness to open up and have a dialogue. The chorus follows, continuing that anthemic chest pounding aggression before a slight bridge arrives to offer a final message in the form of questions, “Why do we teach our boys to bleed quietly?/To call it strength to not show when it hurts?/It's like we’re talking different languages/Cause it feels like we’ll never truly know our worth.” which signals the track coming towards it’s end with one final chorus delivered before the music fades out.

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"Good Lad"

“They’d tell us to be strong and don’t make a fuss
Don’t you know boys don’t cry
Taught from the minute you learn your own fucking name
They get you understanding how to laugh it off
Every bruise, every shame
Sunday mornings, borrowed smiles
Don’t dig too deep
“You alright?” met with “Yeah, I’m sound”
You’re hurting but you swallow it, don’t wallow in it
Cause that’s how good lads are found

You carry the weight like it was all just yours
Like asking for help was a crime
They tap you on the shoulder and said
“Man up, son, you’ll be fine"

He was a good lad, never complained
Always held it together, shouldered the blame
Always the joker, always the glue
Until those cracks came through
They just assumed he had it all handled
But nobody checked that their assumptions were true
Yeah, he was a good lad
At least that’s how he seemed
To me and you

You like the pub noise loud when the feelings low
Honesty from pints comes in flows
Tears turned into punchlines just to make it feel alright
Avoid any semblance of real
Just to make it through the night
We were always warned about weakness
Like it’s some sort of illness you can fucking catch
So you’d lock it deep in your chest
Double bolt, lock the latch

You learned how to disappear
In a room full of friends
Smiling through the silence
Hoping it would end

He was a good lad, never complained
Always held it together, shouldered the blame
Always the joker, always the glue
Until those cracks came through
They just assumed he had it all handled
But nobody checked that their assumptions were true
Yeah, he was a good lad
At least that’s how he seemed
To me and you

Why do we teach our boys to bleed quietly?
To call it strength to not show when it hurts?
It's like we’re talking different languages
Cause it feels like we’ll never truly know our worth

He was a good lad, never complained
Always held it together, shouldered the blame
Always the joker, always the glue
Until those cracks came through
They just assumed he had it all handled
But nobody checked that their assumptions were true
Yeah, he was a good lad
At least that’s how he seemed
To me and you”

Track: #08
Title: Where Those Dreams Are Left To Die
Artist: Jack Dunn
Genre(s): Alternative Rock
Length: 5:02
Studio: Head South Recording Studios, Brighton, England, UK
Writer(s): Jack Dunn
Producer(s): Jack Dunn, Quentin McEwen
Label: Head South Records

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Song Description;

The track opens with a solitary, fragile piano introduction, each note from the piano keys echo with tenderness and emotion. It feels like a slow build is about to occur for this more sombre track. There’s also the sound of a soft acoustic guitar in the background which adds a little additional layer of warmth to the music before Jack Dunn sings the songs opening verse, “We lit our smokes under rusting bridges/Passed the bottle and spoke like we actually had internal scars/We’d stay out until the sun faded over the hillside/Sat by broken glass and burnt out cars/And those old council streets became paved with silence/All the ghosts of old union songs/I’m a child from the aftermath of our former glory/No futures in the furnace/No more jobs left for us at all.” which is sung tenderly, Dunn’s voice in a higher register throughout which adds to the emotion of the songs lyrics and musical backdrop.

The songs pre-chorus comes in, but the music remains low-key and thoughtful which allows Dunn to truly paint a picture with his words and vocal delivery, showcasing a slightly different layer to his artistic abilities. The themes are very much in keeping with his own autobiographical imagery of youthful innocence and societal rejection either personally or to his own hometown, “We were fifteen and bulletproof/Laughed in the face of all we knew, we didn’t have a fucking clue/They slowly started shutting the youth clubs/Selling all the land/Nowhere left for us to play/Never stood a chance.” and it’s lyrics are delivered with a bittersweet tinge, almost like he’s singing with a half-smile and half-wince throughout as his lyrics capture that reckless invincibility of youth. All of which lead the track perfectly into it’s chorus.
The chorus doesn’t explode into life, there are no chest beating anthemic sing-alongs on this track as Dunn keeps things at the same slower-paced level which allows the songs lyrics to settle in with the listener a little more than his previous tracks from the album. His voice remains emotive and captivating as the lyric balances that youthful defiance with the realisation of the bleak future left for him and his generation, “Dreams die young in council kitchens/Surrounded by tenement blocks and concrete skies/Fists in pockets, hearts in stitches/We’ve been broken but we’re still alive/Yeah, they went and took the light from our windows/Plunged in darkness/Where those dreams are left to die/Yeah, we were born beneath the burdens/In the towns where those dreams are left to die/Those dreams are left to die.” which has that same catchy flow that Dunn has been able to craft for his choruses but slowed down with his voice and a piano allows it to truly affect the listener and think about things a little deeper.

The second verse arrives, but the music remains at the exact same tone and pacing as previous, it’s clear that there will be no build up, no rise or fall throughout the track, it’s purely a track that demands a consistent tone throughout in order to truly display it’s theme and story correctly. Dunn sings about the downtrodden area he grew up in and how ambition and dreams aren’t advised, “They taught us that hope’s for city people/We’re the ones that get our hands dirty while those keep theirs clean/They drowned their aches and pains in social club bitter/Shouting obscenities at TV screens/And they hustled and gambled their way through tough times/Christmas presents paid in instalments/Hoping the bailiffs didn’t call/They found grace forged in grit and fire/Saints with their backs to the wall.” and the final line of that verse is sung with an extra feeling of anger felt in the delivery of the final line from Dunn.
The second pre-chorus arrives, mirroring the first but on the back of the second verse feeling a little more drenched in anger and frustration at a system that appears built to keep certain people down, it’s followed by the songs chorus before a brief bridge, “There was no headlines, but they were all local heroes/We were just names scrawled on bathroom doors/Never forgotten, we’ll always remember/We’ll sing their names forever more.” offers one final image of a downtrodden society destined to remain exactly where it is. Before one final chorus arrives which see’s the song come to it’s conclusion.

---

“Where Those Dreams Are Left to Die”

“We lit our smokes under rusting bridges
Passed the bottle and spoke like we actually had internal scars
We’d stay out until the sun faded over the hillside
Sat by broken glass and burnt out cars
And those old council streets became paved with silence
All the ghosts of old union songs
I’m a child from the aftermath of our former glory
No futures in the furnace
No more jobs left for us at all

We were fifteen and bulletproof
Laughed in the face of all we knew, we didn’t have a fucking clue
They slowly started shutting the youth clubs
Selling all the land
Nowhere left for us to play
Never stood a chance

Dreams die young in council kitchens
Surrounded by tenement blocks and concrete skies
Fists in pockets, hearts in stitches
We’ve been broken but we’re still alive
Yeah, they went and took the light from our windows
Plunged in darkness
Where those dreams are left to die
Yeah, we were born beneath the burdens
In the towns where those dreams are left to die
Those dreams are left to die

They taught us that hope’s for city people
We’re the ones that get our hands dirty while those keep theirs clean
They drowned their aches and pains in social club bitter
Shouting obscenities at TV screens
And they hustled and gambled their way through tough times
Christmas presents paid in instalments
Hoping the bailiffs didn’t call
They found grace forged in grit and fire
Saints with their backs to the wall

We were fifteen and bulletproof
Laughed in the face of all we knew, we didn’t have a fucking clue
They slowly started shutting the youth clubs
Selling all the land
Nowhere left for us to play
Never stood a chance

Dreams die young in council kitchens
Surrounded by tenement blocks and concrete skies
Fists in pockets, hearts in stitches
We’ve been broken but we’re still alive
Yeah, they went and took the light from our windows
Plunged in darkness
Where those dreams are left to die
Yeah, we were born beneath the burdens
In the towns where those dreams are left to die
Those dreams are left to die

There was no headlines, but they were all local heroes
We were just names scrawled on bathroom doors
Never forgotten, we’ll always remember
We’ll sing their names forever more

Dreams die young in council kitchens
Surrounded by tenement blocks and concrete skies
Fists in pockets, hearts in stitches
We’ve been broken but we’re still alive
Yeah, they went and took the light from our windows
Plunged in darkness
Where those dreams are left to die
Yeah, we were born beneath the burdens
In the towns where those dreams are left to die
Those dreams are left to die”

Track: #10
Title: Sleeping Rough
Artist: Jack Dunn
Genre(s): Alternative Rock
Length: 4:57
Studio: Head South Recording Studios, Brighton, England, UK
Writer(s): Jack Dunn
Producer(s): Jack Dunn, Quentin McEwen
Label: Head South Records

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Song Description;

The song begins with soft sombre piano tones, which immediately give the track a winter feel, appropriate given the songs lyrics. As the intro plays, a soft rhythmic guitar can be heard just to give a little backing to the piano sounds as the songs soft ballad nature is immediately clear with Jack singing in a controlled emotive manner, “I walk around the streets back home in the winter months/Plenty of layers and I’m wrapped up warm/Homeless people sleeping under bridges, sleeping in the doorways freezing cold/Couldn’t imagine what it’s like/I hope I never have to know/I toss my loose change in an upturned cap/But I feel like I should be doing a little more than that/I feel like we should be doing more than that/We could be doing more than that.” along with Jack’s lead vocals, you can hear the backing vocals delivered by session musician and backing band regular Cherrie Williams, just adding another layer of vulnerability to the songs obvious emotional pull.

Very much continuing in the same vain as we move into the second verse as Jack adds more layers to the songs story, acknowledging that we all get caught up in our own little lives sometimes too much to consider what we’re walking past on a daily basis, this time during the second verse the pacing increases ever so slightly to add a little urgency to what he’s singing, “I’m just like you, I feel sad in the moment but it passes through/Never give it a second thought/I don’t know who it is, but at the end of the day they’re still someone’s kid/Falling on hard times and even harder luck/People glance but they just don’t seem to give a fuck/Too much going on to take the time/We’ve got too much going on in our very busy lives.”
Which then leads perfectly into the songs chorus which hammers home the songs main pull, it’s catchy and repetitive and delivers the songs main talking point, that people are truly dying on the street, unsure if they’ll make it through the night, “Another night of sleeping rough/Nobody told you it was ever going to be this tough/Unsure where your next meals coming/Keep telling yourself to hold on tight/Not sure if you’re even going to make it through the night.” which is repeated twice before another verse.

Jack’s voice becomes louder and more urgent as he delivers one final attempt to paint the picture and encourage those to think twice before ignoring those on the streets, “Winter months and the snowfall flurries/Everybody throwing money at the bar for their Christmas party/Stumbling past the homeless in the cold cold nights/Not sure if they’ll make it out alive/Unsure if they’ll even make it through the night/And you tell yourself it looks rough/But you convince yourself that your loose change wouldn’t be enough/To make a difference/But feels a bit heartless, feels a bit ignorant.” which is then followed by the songs pre-chorus and chorus combination once more before fading out to the soft piano tones.

---

“Sleeping Rough”

“I walk around the streets back home in the winter months
Plenty of layers and I’m wrapped up warm
Homeless people sleeping under bridges, sleeping in the doorways freezing cold
Couldn’t imagine what it’s like
I hope I never have to know
I toss my loose change in an upturned cap
But I feel like I should be doing a little more than that
I feel like we should be doing more than that
We could be doing more than that

I’m just like you, I feel sad in the moment but it passes through
Never give it a second thought
I don’t know who it is, but at the end of the day they’re still someone’s kid
Falling on hard times and even harder luck
People glance but they just don’t seem to give a fuck
Too much going on to take the time
We’ve got too much going on in our very busy lives

Another night of sleeping rough
Nobody told you it was ever going to be this tough
Unsure where your next meals coming
Keep telling yourself to hold on tight
Not sure if you’re even going to make it through the night

Another night of sleeping rough
Nobody told you it was ever going to be this tough
Unsure where your next meals coming
Keep telling yourself to hold on tight
Not sure if you’re even going to make it through the night

Winter months and the snowfall flurries
Everybody throwing money at the bar for their Christmas party
Stumbling past the homeless in the cold cold nights
Not sure if they’ll make it out alive
Unsure if they’ll even make it through the night
And you tell yourself it looks rough
But you convince yourself that your loose change wouldn’t be enough
To make a difference
But feels a bit heartless, feels a bit ignorant

I’m just like you, I feel sad in the moment but it passes through
Never give it a second thought
I don’t know who it is, but at the end of the day they’re still someone’s kid
Falling on hard times and even harder luck
People glance but they just don’t seem to give a fuck
Too much going on to take the time
We’ve got too much going on in our very busy lives

Another night of sleeping rough
Nobody told you it was ever going to be this tough
Unsure where your next meals coming
Keep telling yourself to hold on tight
Not sure if you’re even going to make it through the night

Another night of sleeping rough
Nobody told you it was ever going to be this tough
Unsure where your next meals coming
Keep telling yourself to hold on tight
Not sure if you’re even going to make it through the night”

Track: #12
Title: Coastline
Artist: Jack Dunn
Genre(s): Alternative Rock
Length: 5:18
Studio: Head South Recording Studios, Brighton, England, UK
Writer(s): Jack Dunn
Producer(s): Jack Dunn, Quentin McEwen
Label: Head South Records

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Song Description;

The track opens in a hushed way, with the sound of a gently picked guitar line that sets the tone for the track ahead, allowing the song to drift in softly and tenderly. Immediately the song has a sense of calm from the opening seconds, which matches the tracks title and metaphor of the “Coastline” itself. The repeated opening guitar pattern is soon accompanied by the vocal, warm and conversational as Jack delivers the opening lines, “We met as kids and grew up in these nowhere towns/Spent days down on the coastline where the land surrenders and gives up the fight/Concrete pavements slowly thinning into the sand/Where it always felt like the sea was breathing in slow motion/Just like it knew something we didn’t yet understand.” immediately giving the song it’s emotional weight, the combination of guitar, vocal and lyric make it evident that we’re about to experience something drenched in the feeling of yearning. As the first verse continues to unfold, the imagery is given space to breath and become fully realised in the listeners mind. “And you laughed at the gulls like they were hecklers, teasing from above/Just watching the horizon blink and bruise/Felt like there was importance in every sentence you spoke/Like truth had learned your accent too.” with Dunn’s lyrics rich in personal detail that has become a trademark of his, early in his career. The arrangement remains minimal, allowing the vocal to sit front and centre while the guitar works as the gentle undercurrent of the track.

As the pre-chorus arrives, the song becomes more emotional and personal as Dunn sings over the now more rhythmic and melodic guitar pattern, “I’d spent years learning how to leave/Packing light, always half-gone/But there was something in the way you stood there/Made running feel like I was doing this wrong.” as he hints at the autobiographical nature of the song, using the phrases running and packing light in reference to the travelling musicians lifestyle and how it conflicts with a love that is growing in the very place he needs to leave. The lyrics land softly but carry an emotional weight that informs the rest of the song, marking the first real moment of self-realisation.
The chorus arrives and blooms without even having to try, the melodic nature of the guitar chords and the rhythmic scheme of the lyrics immediately create a singalong anthemic moment within the song, giving it a dramatic lift and expanding the hint of romance into the realisation that it’s full blown love, “I know I fell in love on the coastline/Where the wind strips you honest and bare/With your Timbs full of sand and your eyes fixed on the tide/Like you trusted it’d always come back there/If I’d have known love would have remained from standing still long enough/Then I’d have packed in all of my wildest dreams/I fell in love on the coastline/Between those waves and the in-betweens.” there’s a feeling of timelessness in the songs chorus, it’s the type that has an incredibly heavy weight to it lyrically that can be easily missed as you get caught up in the melody of it all.

The second verse continues to add further depth and personal detail to the song along with a feeling of nostalgia as the focus shifts from the physical surroundings to the emotional intimacy of young love. The instrumentation gently grows here, additional layers come into play with a soft drum beat and an additional guitar to add more musicality to the track. “We could talk about nothing and yet it all mattered/There wasn’t anything we wouldn’t say/Picked out a beachfront house from across the pier/Dreams we no longer share together, but those dreams still remain/You said the sea would keep our secrets/Secrets that we could always return to someday/I thought about all the versions of me since/I’d let them all sink without a wave.” which delivers the tracks biggest emotional pull with a beautiful melancholy in the lyrics as Dunn acknowledges the loss of love without bitterness, just understanding that sometimes that’s just the way of things.
It's followed by another pre-chorus, this time with different lyrics under the same melody, adding additional personal touches to the track. ”The town lit up behind us softly/Like it wanted to illuminate but not interfere/Even the nightlife seemed to take a step back, gently buzzing/To give us space to be sincere.” despite it’s briefness this section offers one of the song’s most striking images of a town glowing and fully alive in the distance, but fading into insignificance under the weight of the love shared between the two. It’s followed by the songs catchy anthemic chorus once more.

As the song progresses into the final verse, the song has one final opportunity for closure as the lyrics centre on an acceptance that things just aren’t meant to last, offering feelings of fear and inevitability. “I was scared of the day that the tide turned/Always felt like the day would come when the storm made the news/Man, It felt like loving something I couldn’t protect/From time, or truth, or you/But the sea doesn’t promise forever/It just shows up without relent/And maybe love’s not as insistent as that/But there was always the choice to stay when you can.” which is delivered with a fragile beautiful honesty, giving the track a feeling of quiet acceptance. The tender guitar tones and stripped back nature of the track work in it’s favour.
The final pre-chorus and chorus combination arrives once more to close out the song, ending on a singalong note despite the emotional context of the lyrics being sung.

---

"Coastline"

“We met as kids and grew up in these nowhere towns
Spent days down on the coastline where the land surrenders and gives up the fight
Concrete pavements slowly thinning into the sand
Where it always felt like the sea was breathing in slow motion
Just like it knew something we didn’t yet understand
And you laughed at the gulls like they were hecklers, teasing from above
Just watching the horizon blink and bruise
Felt like there was importance in every sentence you spoke
Like truth had learned your accent too

I’d spent years learning how to leave
Packing light, always half-gone
But there was something in the way you stood there
Made running feel like I was doing this wrong

I know I fell in love on the coastline
Where the wind strips you honest and bare
With your Timbs full of sand and your eyes fixed on the tide
Like you trusted it’d always come back there
If I’d have known love would have remained from standing still long enough
Then I’d have packed in all of my wildest dreams
I fell in love on the coastline
Between those waves and the in-betweens

We could talk about nothing and yet it all mattered
There wasn’t anything we wouldn’t say
Picked out a beachfront house from across the pier
Dreams we no longer share together, but those dreams still remain
You said the sea would keep our secrets
Secrets that we could always return to someday
I thought about all the versions of me since
I’d let them all sink without a wave

The town lit up behind us softly
Like it wanted to illuminate but not interfere
Even the nightlife seemed to take a step back, gently buzzing
To give us space to be sincere

I know I fell in love on the coastline
Where the wind strips you honest and bare
With your Timbs full of sand and your eyes fixed on the tide
Like you trusted it’d always come back there
If I’d have known love would have remained from standing still long enough
Then I’d have packed in all of my wildest dreams
I fell in love on the coastline
Between those waves and the in-betweens

I was scared of the day that the tide turned
Always felt like the day would come when the storm made the news
Man, It felt like loving something I couldn’t protect
From time, or truth, or you
But the sea doesn’t promise forever
It just shows up without relent
And maybe love’s not as insistent as that
But there was always the choice to stay when you can

I’d spent years learning how to leave
Packing light, always half-gone
But there was something in the way you stood there
Made running feel like I was doing this wrong

I know I fell in love on the coastline
Where the wind strips you honest and bare
With your Timbs full of sand and your eyes fixed on the tide
Like you trusted it’d always come back there
If I’d have known love would have remained from standing still long enough
Then I’d have packed in all of my wildest dreams
I fell in love on the coastline
Between those waves and the in-betweens”