I have had some great reviews for the last few albums, here are some of them.
Odyssey Magazine
Exclusive Interview: Paul Cogley (The Silent Sea)
FEATURE 30 APR 2025 WRITTEN BY IAIN JOHNSON
The Silent Sea is not your typical album. It’s not chasing trends, not pandering to playlists, and sure as hell not looking for permission. This is music made the old-school way—from gut, from soul, from the kind of late-night headspace where you’re either creating something honest or staring into the ceiling fan wondering about the meaning of it all.
This is the fourth studio release by Paul Cogley—though this time, he’s going just by “Cogley”, which feels fitting for an artist who's stripped things down to pure essence. He’s not hiding behind production gimmicks or guest features. In fact, The Silent Sea, like its predecessors Terra Nullius and Deep Blue Sky, is entirely written, played, recorded, and shaped by one man. Every note. Every layer. Every breath.
That alone is impressive. But what makes this album resonate deeply is its emotional clarity. It’s not clinical. It’s not polished to the point of numbness. It’s raw, restless, and achingly beautiful—a sonic snapshot of a chaotic world and one man's internal dialogue with it.
Cogley has a thing with the elements. His last two records, Terra Nullius (Earth) and Deep Blue Sky (Air), explored their respective themes with nuance and texture. Now with The Silent Sea, we plunge into water. But don’t expect sea shanties or ambient bubble loops. This album feels like water, emotionally—fluid, vast, sometimes stormy, sometimes still.
What you get are mood pieces that shift like tides—moments of melodic clarity cut with darker, edgier undertones. There’s a clear intention to tap into the ebb and flow of feeling, rather than trying to “nail a hit.” One moment, you feel like you're floating peacefully; the next, you’re in deep waters with no land in sight. And that’s kind of the point.
What’s truly refreshing is Cogley’s commitment to complete creative freedom. No producers whispering in his ear. No algorithms dictating song lengths. No co-writers flattening his intent. It’s just him and his instruments—and you can feel that purity.
He puts it best himself:
“The thing with emotions is that they can change overnight… sometimes you need to climb back out of one rabbit hole in order to find another, more suitable rabbit hole. Alice never had this problem.”
That sense of wandering—of creative curiosity without fear—saturates The Silent Sea. This isn’t about hooks; it’s about exploration. If you’re patient, the reward is a record that grows with each listen.
Paul Cogley’s backstory is cinematic. Born in England, first performance at 13 (playing Black Sabbath’s “Paranoid” at a church fete), and a lifetime spent in parallel careers: daytime engineer at British Leyland, Jaguar, GM, and Boeing; nighttime sonic adventurer in the studio.
You can feel that duality in the music—mechanical precision meets emotional messiness. It’s calculated in its structure but free in its expression. The kind of album that might make a spreadsheet of chord progressions while crying into a glass of whiskey.
Cogley’s “The Silent Sea” is an elemental, emotive, and completely unfiltered dive into one man’s mind, made with zero compromises and 100% passion.
Multi-instrumentalist and self-producer Paul Cogley doesn’t just write music—he translates feeling into soundscapes that don’t beg for your attention, but deserve it.
If you're tired of formula and hungry for something real, cue this up and let it wash over you.
We Spoke To Paul about his journey so far. Read the exclusive interview below.
Do you have an interesting moment or story from your early life that has had a significant impact on your journey into music?
Paul: Well, I suppose, pertinent to where I am at today, about 10 years ago in Seattle, when, after most of my life of playing in bands, I just hit a breaking point, and suddenly, I just couldn’t do it anymore. It literally was a moment that occurred while on stage during a performance, when I just had to leave the stage. Within a couple of days, I quit all three bands I was playing in at the time and withdrew completely from the music scene there. After some period of contemplation, I started building up a recording studio and going it alone. Obviously, I needed to do that, and found that being your own boss was completely liberating. This was a significant moment for me.
Are there any artists that were influential to your musical journey? How have they inspired your sound as an artist?
Paul: Well, I am a guitar player first, but lately, music production and all the engineering that goes with that seems to have taken precedence. Having said that, I was always enthralled by musicians that forge their own path. One of the earliest was Mike Oldfield. Tubular Bells still is regularly spun in my house. Jean Michel Jarre is another. But guitar players have always inspired, and it would be remiss of me not to call them out here, so, Jeff Beck (for style and originality), Dave Gilmour (for manifesting emotion), Richard Thompson (for playing in the moment), and Rory Gallagher and Gary Moore (for the sheer balls). I would like to think I have pulled something from every one of them.
How would you describe your sound to new listeners? What do you think sets you apart?
Paul: What sets me apart? Staying away from the norms, not trying to follow any pattern other than supporting the flow of an album. In this age of short attention spans, I still believe there are those that listen to a whole album from beginning to end, and not just the individual tracks that take their fancy. My albums are crafted as a whole, and I like to think of the whole thing as a journey and that the whole is greater than the sum of the parts. Of course each track stands on its own, but is enhanced by what preceded and what follows, much like Pink Floyds Dark Side of the Moon as an example of this. I’ll let the listener decide how successful I am with doing this.
What’s your creative process? Where do you normally start when it comes to writing and recording? Do the lyrics come first?
Paul: As a musician first, the music always comes first, and it is usually written on an acoustic guitar, even my electronic compositions typically started out as an acoustic guitar track that that ultimately results in the acoustic guitar track getting removed. That happens a lot. Then the resulting emotions invoked dictate the topic of the lyrics. This is generally the process.
Have you had any challenges or adversities in your life that you feel have shaped you as an artist?
Paul: In October 2004 I went to the doctors with a pain in my abdomen that resulted in a ‘3 month to live scenario’ quite literally. What followed was 6 months of chemotherapy that had me living at a facility where every day I was pumped full of chemicals as I had nothing to lose. That rewrote my view of life as I got to know a lot of folks in the same boat, and I got to learn who made it through and who didn’t and why. Here I am 20 years later, still hanging in there. It’s hard to say that period of my life didn’t shape who I am today.
Are there any moments or achievement from your career so far that you’re most proud of?
Paul: I did several recording sessions in the past with individuals and bands that did go on to be somewhat successful, and have played in many bands and had a lot of fun over the years, None of that really matters to me now when compared to me breaking out on my own and doing my own thing. I think that is the most honest and genuine thing you can do for yourself, and for me, it took a few years to figure that out, but never too late, eh?
Which do you prefer, the creative process or live performance? Or do you enjoy both equally?
Paul: There was a time when playing live was everything, and rehearsing while trying to come up with new stuff while jamming was also a fascinating process. Today of course, I do not perform, and love being locked in my studio coming up with new stuff that is pertinent and relevant to today.
Do you as an artist require fans to fully understand your message in each song or do you encourage subjective interpretation from every listener?
Paul: Music is personal and you can only listen to it through your own filters, it’s the only way. For me, my music has personal messages and experiences embedded, however it is not the goal to impart those experiences onto the listener, but I would hope the listener to be affected by the emotion of the song that it invokes their own emotions through their own filters. I can only hope for that honor.
Does the political landscape have an impact on your music, or do you keep your personal opinions separate from your work as an artist?
Paul: In this polarizing time, it is hard to separate politics from emotions of the time, and I would be lying if I said not. My music is about emotions relevant to the current time so yes, politics do affect. My last album ‘Deep Blue Sky’ (marketed under the artist name ‘Paul Cogley’ ; the new album ‘The Silent Sea’ is marketed under ‘Cogley’) was written while Ukraine was being invaded, so I dedicated it to that. Look for the visual clues on the cover, and the artwork was done by a Ukrainian company. The latest ‘The Silent Sea’ is all about those who remain silent while all this craziness takes place.
What are your future plans? Any new songs/projects on the horizon?
Paul: Well actually lots in the pipeline. The new album will begin shortly. With this latest (10 years ago) direction in my music career, I wanted to generally tip the hat towards nature. I thought all my albums should resonate with a theme, so I picked the 4 elements. My first solo album in 2020 ‘Terra Nullius’ was about the element Earth, second came ‘Deep Blue Sky’ in 2022 about the element Air, in 2025 ‘The Silent Sea’ about the element Water and the next will be about the element Fire of course. Then I plan to release a compilation, a ‘best of..’ called ‘Elements’, ha ha! what else?
In addition, ‘The Silent Sea’ was released streaming and intended to be released on vinyl. I am planning to re-release ‘Terra Nullius’ and ‘Deep Blue Sky’ under my latest artist name ‘Cogley’ but also on vinyl as they were only made for CD and streaming. So, look out for that too.
https://odysseymagazines.com/music-1/template-review-rne7n-2mf22-5e6wm-m5wx9-b8kkc?fbclid=IwY2xjawK6pDJleHRuA2FlbQIxMQBicmlkETFnZnhVTzRPV0pSTUdNdXo0AR6kiw8yX1WAfp63O_hG7o93DFiMxyhGNWf7q9pVn9z4A6YiWzCwZqaxReR_PQ_aem_0lvECa_6TQwe2PtixxRHHA
TJPL Magazine (UK) Issue 30 June 2025
PAUL COGLEY’S THE SILENT SEA IS LESS “AN ALBUM” AND MORE “A METICULOUSLY CRAFTED EMOTIONAL GUT-PUNCH”
Album Review, International, New Music | By Ian Ureta June 20 2025
Disguised cleverly as a collection of songs. It’s the kind of record that doesn’t politely shuffle into the background. Rather, it sits you down, stares into your eyes, and asks if you’ve really thought about the crushing absurdity of modern life lately. And when you say “yes,” it stares harder.
Sonically, The Silent Sea is absurdly well-done. The production is lush without ever getting self-indulgent about it — which is almost suspicious in a world where every bedroom pop EP now sounds like it was mixed inside a tin can filled with bees. Every sound here, from the brooding basslines to the world-weary guitar sighs, feels sculpted with the kind of care usually reserved for endangered artifacts or extremely pretentious sandwiches. It’s rich, it’s textured, and it breathes in a way that makes 99% of other albums feel like they’re suffocating under their own plug-ins. Somehow, Paul Cogley makes “patient sound design” feel radical, like not screaming into a megaphone is a bold artistic choice.
A list of my personal highlights include Lies, where Paul Cogley immediately establishes that yes, things are bad, and no, you’re not imagining it. Then there’s Searching For Signals, where Cogley somehow captures the exact emotional experience of trying to make sense of anything online without having a complete existential collapse. It doesn’t really “build” so much as it “slowly spirals into a very beautiful panic attack,” which, if nothing else, feels extremely accurate.
Lost at Sea finds Cogley leaning fully into that wonderful “what if existing was a mistake?” energy. It’s slow, it’s sorrowful, and it refuses to give you anything resembling catharsis. Drifting aimlessly never sounded this intentional. By the time we get to The Eye I Eyed, the record shifts from “the world is collapsing” to “oh no, so am I.” It’s an intense, deeply personal track that practically demands you sit there and think about your own emotional baggage. Thanks, Paul.
Another highlight comes in with The Dream Of White Horses, which is an absolutely gorgeous interlude that basically weaponizes nostalgia. It’s so fragile and wistful that it feels like it might disintegrate in your headphones if you breathe too hard. Imagine your fondest childhood memory, except halfway through you realize it was sad the entire time.
Later on, Analog Child steps up to deliver a deeply melancholy “remember when screens didn’t ruin everything?” moment. Instead of just shaking his fist at the cloud, Cogley dissects nostalgia itself, like someone slowly realizing their comforting childhood blanket is actually made of existential dread.
When we hit the track Time To Go, the album reaches its inevitable sigh of resignation. It’s not furious. It’s not even particularly sad anymore. It’s just a calm, knowing, exhausted “yeah, fair enough”; the musical equivalent of closing your laptop after reading literally any piece of news.
And finally for track highlights, there’s Moments, which gives the album a small, battered flicker of hope. It’s not some grand triumph. It’s more like the stubborn, tired knowledge that surviving, even badly, is still surviving. Which feels weirdly uplifting, if you tilt your head and squint at it hard enough.
In the end, Paul Cogley’s The Silent Sea is a shockingly cohesive, emotionally rich work that somehow makes being completely crushed under the weight of modern existence feel kind of beautiful. He skips irony, skips posturing, and just opts for sincerity; a move so genuinely rare these days it almost counts as performance art. It’s extraordinary, it’s depressing, and it’s kind of inspiring. Also, it sounds fantastic. What more do you want?
https://appppc.com/paul-cogleys-the-silent-sea-is-less-an-album-and-more-a-meticulously-crafted-emotional-gut-punch/?fbclid=IwY2xjawK6p3NleHRuA2FlbQIxMQBicmlkETFnZnhVTzRPV0pSTUdNdXo0AR7QzASf5sv4IQsBM8lWid1UoBqlcbDV0fQ37Qk_KTSlRH9Co7k7vNCA4ujR6A_aem_DQlcGeEJqkNeas_EijYwuQ
https://illustratemagazine.com/exclusive-interview-with-paul-cogley/
Deep Blue Sky
Exclusive Interview With Paul Cogley
October 13, 2022
Paul Cogley is a producer, composer, and musician. Since the mid 70s to 2015, he’s been in several tribute bands and original music bands playing rock, punk, soul, progressive, and blues among other genres. His original rock/pop album “Nova Cafe,” was released in March 2017. It was recorded and produced in Paul’s studio and featured some fantastic local Seattle talent. Paul went back to his studio in February 2019 to begin writing new music, and in May 2020, he released “Terra Nullius,” an 11-track album of original compositions. A second single, the parody “Be Careful What You Tweet,” was released in June 2021 after the release of the single “Time To Go” in December 2020. All music is accessible through all streaming services as well as online music retailers like iTunes, Apple Music, Amazon, and others.
His latest album “Deep Blue Sky,” was released in August 2022. The creation of Deep Blue Sky took two years. It can be said that the experimental rock/alternative and electronic music is well-crafted and will appeal to a wide audience.
The album serves as a manual for how to find redemption in this crazy world where we have all somewhat lost our way. From the opening song, “Mr. Spaceman,” where we feel pressure from within and try to live up to impossible scrutiny and demands, to “What If It Were You,” where we have lost our empathy, to “Longing,” where we know we have lost something but are unsure of how to get it back, to “Everything Changes,” which is self-explanatory, “A Million Miles Away,” which is about the James Webb Telescope (easier to look away than look within), to the ending song “Pebble,” the album sheds light on many inward and outward contemporary matters. He has lovingly dedicated this album to the entire world. Check out the album and the exclusive interview below:
1. Can you tell us a bit about where you come from and how it all got started?
PAUL COGLEY: Well, my first ‘guitar’ was a tennis racquet, and I would ‘jam’ along to some Motown and Beatles 45’s that we had at home. My first real guitar was gifted to me when I was about 11 years old. I joined my first band at 14 and first serious band at 17, as well as getting involved with a local recording studio and had my first taste of the music industry. This was in the late 1970’s in the UK. Since then, I have played in bands and stayed involved in making music all over the world.
2. Did you have any formal training or are you self-taught?
PAUL COGLEY: The only formal musical training I’ve had is when I’ve needed a crash course on learning how to do something for a specific music project. Other than that, as a musician I am entirely self-taught, learning through experience. I have had more formal training as a producer learning recording studio techniques and new technologies, but I’ve found for myself that experience has been my greatest teacher.
3. Who were your first and strongest musical influences.
PAUL COGLEY: Musical influences? Gosh, so many…. I suppose initially Jimmy Page and Dave Gilmour influenced my passions and carved the way, and then later, Jeff Beck and Richard Thompson, but I also loved the music of Mike Oldfield (who also creates and produces music on his own). My tastes go everywhere, not just rock, but also folk, classical, electronic, ambient…. If it’s good, then it’s fair game for me.
4. What do you feel are the key elements in your music that should resonate with listeners, and how would you personally describe your sound?
PAUL COGLEY: Certainly, with the ‘Deep Blue Sky’ album, I think I have finally gotten to a point where I am able to allow the songs evolve on their own rather than trying to influence the outcome. That implies that I was limiting the potential before, but ‘Deep Blue Sky’ was a very different experience as I was allowing more raw emotion through. Emotions that were maybe suppressed for a long time, and along with some disturbing current events (like the Russia-Ukraine thing happened right as I was beginning to formulate this album), and things going on with people close to me…. it has been a very hard year all round for many. So, to answer the question, the key elements are the underlying emotions of the album. Listen for all the subtlety and space, and the barely perceptible things going on in the background, like the acoustic guitars and what they are playing; nothing is regular. My goal was to create something that, every time you listen to it, you hear something different, and over time, a fuller picture emerges. I know this is a risky proposition in this age of short attention spans and the fact that most folk do not listen to an entire album in one sitting anymore, which is a shame because that is a journey better experienced as a whole.
5. For most artists, originality is first preceded by a phase of learning and, often, emulating others. What was this like for you? How would you describe your own development as an artist and music maker, and the transition towards your own style, which is known as INDIE?
PAUL COGLEY: I have never concerned myself with emulating someone else, or even consciously trying to be original, but more responding to the moment. Obviously, you must do music to get good at interpreting and manifesting it, and I have done my tenure in blues, rock, prog, and punk bands etc., but for me, it has been all about doing stuff that I find personally interesting and not just doing what others expect. I am getting more that way as time goes on, and lately, my development seems more about me evolving as an individual rather than as a musician.
6. What’s your view on the role and function of music as political, cultural, spiritual, and/or social vehicles – and do you try and affront any of these themes in your work, or are you purely interested in music as an expression of technical artistry, personal narrative, and entertainment?
PAUL COGLEY: Well, yes to all of that. In recent years, as music has become more and more monetized and stigmatized by the industry, the art has lessened and become cheaper, which grieves me greatly. I have a statement on my web site; ‘Words make you think a thought, music makes you feel a feeling, but a song makes you feel a thought’ and I totally live by those words! I believe in the power of music, and that it can soften the hardest heart and embolden the most vulnerable. My themes tend to be relevant to the times and formed with raw emotion. I think using it as a vehicle to raise awareness, heal, instill emotions or whatever, is the God-given duty of every musician.
7. Could you describe your creative processes? How do usually start, and go about shaping ideas into a completed song? Do you usually start with a tune, a beat, or a narrative in your head? And do you collaborate with others in this process?
PAUL COGLEY: Every year I do an online music challenge called ‘February Album Writing Month’ (FAWM.org) where you are challenged to write, record and upload 14 songs in the month of February. I have done it every year since 2015. A song every two days forces you to just do, and not overthink. It gets you out of your own head and just create, there is no time to sleep on an idea. This really works well for me. My FAWM songs come about from a theme idea, or a little ditty on the acoustic guitar, or a lyric with a melody that is rolling around inside my head, it is not consistent at all. After FAWM, these songs then provide a foundation, or a starting point for development which can involve listening, relistening, combining, refining, adding to, taking away, generally allowing the song to gestate over periods of time, and revisiting, to see how it is standing up after not listening to it for a while. It is a very iterative process for me.
8. Creative work in a studio environment, or interaction with a live audience? Which of these two options excites you most, and why?
PAUL COGLEY: I have done my share of playing live, there have been times when I was out playing every night of the week. It can be a great buzz, directly feeling the love etc., but I have to say that these days, I am, without a doubt, happiest in a studio. I love approaching problems from unusual directions that lands you somewhere completely unexpected. I can get very experimental, especially with mixing and production, finding new ways to explore a sound. It is really important to experiment.
9. Do you think is it important for fans of your music to understand the real story and message driving each of your songs, or do you think everyone should be free to interpret your songs in their own personal way?
PAUL COGLEY: Of course, for me, every song has a story, a meaning and a set of feelings that go along with it that is intensely personal to me, but I do not think it is important that every listener ‘get’ those same feelings or thoughts. I would like to think that my music would provoke a listener’s own feelings and emotions by being goaded by my own personal emotions that come though the music. What one gets from listening to music can be extremely personal and evocative and can only be truly embraced if the song speaks directly to them in some way. My only desire is to illuminate a path for them.
10. With social media having a heavy impact on our lives and the music business in general, how do you handle criticism, haters, and/or naysayers in general? Is it something you pay attention to, or simply ignore?
PAUL COGLEY: Well, it is true that social media can have a negative effect on your mental health… if you let it! That is the key though, you can’t become enslaved to it. If you do not control it, then it WILL control you, there is no middle ground. Everyone is a critic, some to excess, but you just deal with that. Everyone is different, and entitled to their own opinion, and that is important stuff, you can’t be critical of the critics. So, my general rule is to accept the love, consider constructive criticism, and ignore the hate. Happily, I mostly get love!
https://www.pigeonreviews.com/post/artist-interview-paul-cogley
Deep Blue Sky
Artist Interview: PAUL COGLEY
1. Cru Cru Paul Cogley, super nice to have the chance to chat with you! What first got you into music?
I remember hearing Andy Williams’ ‘Can’t Get Used to Losing You’ when I was in a crib. Yes, it was in the top twenty at the time. That pizzicato intro got me. The rest is history.
2. Can you write what was your best performance in your career? How do you remember it?
All my best and most memorable performances have happened while alone in my studio always after forgetting to hit the record button.
3. Who came first? The chicken or the Egg?
Well, that’s easy…. eggs have been around much longer than chickens… unless of course, you are asking about a chicken-egg? In that case, ignorance more frequently begets confidence than does knowledge.
4. What would you do if you had a time machine?
I would open ‘Cogleys’ Time Machine Cruises’ and take people to the time they wanted to go to. Then I would just leave them there. I think that would have made the world a lot more interesting and fun.
5. What memorable responses have you had to your work?
I am getting some amazing reviews to the new album, and it is clear I have had some measure of success in creating an album of emotional vignettes. It really is gratifying to see critics ‘get’ that…. Or could it be that I am just not as deep as I think I was being?
6. Do you think that technology is improving lives?
I wouldn’t be able to do what I do if it wasn’t for the highly developed recording technology we have these days. Social media can suck, and I miss watching the same TV shows at the same time as everyone else in the country. I am sure there was a mass consciousness connection thing going on that is now long lost as we stream different things at different times now, but we must keep looking for those ways of connecting using our new technologies and without hating each other; if that is where this question was going.
7. Do you have a mentor or coach?
No, but I am perpetually misunderstood, and I think that explains why I have never had a mentor or coach!
8. What’s your favorite 80’s album?
That’s a cruel question! You force me to pick a favorite between ‘Songs From The Big Chair - Tears For Fears’, ‘So - Peter Gabriel’, ‘Moving Pictures - Rush’, ‘Computer World - Kraftwerk’, or ‘Rio - Duran Duran’? Ok then, I pick ‘The Flat Earth - Thomas Dolby’….. no, I mean ‘Go West - Go West’, or maybe ‘Welcome Home - Til Tuesday’….. (Head explodes!)
9. What are you most proud of?
My two daughters and grandson!
10. Do You agree with the Pigeon?
No, take the money and run!
"Deep Blue Sky" opens with a space banger: "Mr. Spaceman"! An electronic tune that makes you hover in space on account of galactic synthesizers, quirky robotic vocals and progressive guitars that take you to infinity and beyond without bringing you back! The entire work overflows with a dreamy indie-artistic energy that is impossible to resist - check out the original album: "Deep Blue Sky"!
The Pigeon added the new single to his Weekly Gems playlist on Spotify. You can check out the released music below. If you like what you hear, make sure to follow along so you can stay on top of future releases!
Words by The Pigeon
https://www.thepunkhead.com/indie-pop-artists/Paul-Cogley-deep-blue-sky
Punkhead magazine -Oct 2022
Paul Cogley “Deep Blue Sky”
Deep Blue Sky is such a fantastic album that it feels like a loss for anyone who didn't hear it already. Paul Cogley orchestrates a captivating and expansive experience through 12 songs, taking you on a deeply awakening journey above the sky with your visions and imagination broadened. “Mr. Spaceman" produces an impressive 3-D experience as if the track itself is projected across a sonic theater. The sounds surround you, swirling from side to side, placing you in an interactive sonic space where they have become palpable.
In “Mr. Spaceman," Cogley's voice is as vulnerable as it is sensitive. It softens the edges of those highly captivating, cleverly orchestrated, reoccurring riffs that draw you back and forth in good chemistry. His music has you widening your eyes as well as grinning and connecting. It's worth pointing out that the way Cogley plays with elements and themes is simply genius. His ability to make repetition fascinating also seems effortless.
“What If It Were You" dives into a deep, calming soundscape that feels like a painting of the night sky. A driven rock rhythm stirs the calm water. The track begins with a guitar in solitude, spreading out in distortion. In “Lament," a strand of light and night weaved into the beautifully tender storytelling. Here, the strings and woodwinds become the fleeing giggles that echo in the background. Hearing that soulful but light expression is simply precious. Into “The Flimflam," the echos became this classic, booming pulsation that brings a dizzy feeling into your eardrum. There are also fleeing sounds in there, but the mesmerizing short lick has your attention, going into a western, alternative rock and blue palette. What's even more interesting is how “Everything Changes" continues the shivering echo from the last track but tunes into an introspective gaze.
“Pebble" delivers a change of pace in the album that lifts the air with brighter colors and lighter feels. “Epitaph," on the other hand, concludes the album with meditative storytelling that builds the space from the lingering sound after hitting the strings.
Terra Nullius Review done by Artist Joey Fehrenbach.
The Mountain is a song for day dreamers. The guitar work is brilliant, and the melody will stay in your head for days.
Space Patrol My kind of song. Edge and grit from a nice retro bass and drums merge nicely with soaring synth lines and beautiful guitar. Paul Cogley is a very skilled arranger and producer.
Joey Fehrenbach
From Journalist Kenan Block
Paul Cogley’s latest album, Terra Nullius is an alluring, melodic and at times hypnotic collection of 11 compelling songs. Cogley has masterfully come up with a brilliant soundtrack for the pandemic. Indeed, Terra Nullius’s joy and power make it the perfect anti-dote to these, at times, dark and challenging days.
Most of the songs are sweet, complex electronic compositions with a few folk and pop songs contributing to a beautifully constructed whole, of music and storytelling. This album has that rare power to draw one in and not let go. “My Book of Trees” is a pure joy while “Black Sail” is seductive and haunting. I relished the fun, upbeat “Cheese and Crackers”. Cogley is a gifted and original talent.
Terra Nullius is a ‘must listen to’ gift to us all.
-Kenan Block
Kenan Block/Media&Communications
From recording artist Mimi Page
“The soothing vibrations of “The Mountain” took me on a journey to a beautiful and serene place inside my mind. This wonderful song is not only a musical vacation, but a gentle reminder of the peace that lives deep within us.”
-Mimi Page