Forged in the fires of Midwestern open mic nights, where he could reasonably play a Cole Porter cover sandwiched between Pulp and D'angelo songs, Joshua McCormack sounds, well, different from typical singer-songwriters. From Chicagoland to Tucson he drove, spending nights in storm stricken single neighborhood towns somewhere in the panhandle, until he found himself in the Sonoran desert.
Now he's writing songs again.
From the acoustic based leanings of Joshua McCormack presents Holiday Girl, to the raw ballads and theatrical epics of The Funeral of the Siren, to the electronic/rock/pop/blues/folk hybrid of The Phantom King, he's always pushed himself in new directions of both songwriting and sound.
His newest release, Dark Corners of the Night, blends the variety found on his previous three albums into a journey through stomping blues, mechanized pop, psych sing-alongs, vocoder love songs, and hopeful ballads of longing and leaving. Through it all, his versatile voice and particular way with words invite the listener deeper into his world.