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Singled Out: ØZWALD - "10 pm at the Greyhound Station" | UNXIGNED

ØZWALD – “10 pm at the Greyhound Station”

ØZWALD’s new track “10 pm at the Greyhound Station” hits the hearts of nostalgic wanderlust bipeds who trek amongst the wilderness and urban sprawls alike.


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ØZWALD’s new track “10 pm at the Greyhound Station” hits the hearts of nostalgic wanderlust bipeds who trek amongst the wilderness and urban sprawls alike. There is something sweet and tender for many to appreciate about this song that rings through its steady rhythm and evolving acoustic compass of tight harmonies and thoughtful chord progressions.

This song was composed and produced by Lifehouse members Jason Wade (1995–present) and Steve Stout (2014–present) who started ØZWALD as a side hustle. The band, which was formed over Wade and Stout’s bond of The Beatles, has been prolific since its birth two years prior manifesting three LPs before the one where we find this track.

“10 pm at the Greyhound Station” is the 10th and last track off the pair’s new record For Polly Anna released December 18. The track sports aesthetically grainy space that for a moment brings Elliott Smith to mind. A rather brooding guitar strumming sits juxtaposed with simple hand percussion and subtle synth leads, ultimately hinting at indie acoustic styles popularized by the likes of Sufjan Stevens and Whitney.

The lyrics seem to speculate on a love interest that comes intermittently but reliably into the writer’s life—perhaps a distance of a Greyhound bus ride away between them drives self and global introspection each time the partners part. “It’s those simple pains that remind us who we are…” The chorus sings thoughts of reassurance for their love even if the world is crumbling. “If I start going, if this world starts falling apart… I know that you’ll be around.”

Wade and Stout label the album as a “loose narrative of a cast of characters that are intertwined in a bit of a puzzling situation.” Such is in keeping with both musicians’ flair for spontaneity, even describing ØZWALD as a project with “no rules.”

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To fully comprehend the complexities of such a statement, beyond interjecting from what the title suggests, one must listen to the whole LP available everywhere music is sold or streamed.

Listen below.


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