motel void

Luke Beling is a South African-born singer-songwriter who grew up listening to music from the ’60s and ’70s, influenced by the records his father played and the complex struggles of his native country.

In early May, he released his new album This Parlor Trick Life – and it’s absolutely worth your attention. The album opens with Shining Like The Sun, featuring a guest appearance from Kentucky musician Silicone Boone. The production is understated and professional, giving the track a polished and musically mature feel – yet there’s no lack of emotion. The song starts off slowly, but around the two-minute mark it builds into a catchy and heartfelt chorus that makes for a stunning opener.

American Dreams picks up the pace with more energy and drive, evoking the spirit of Bruce Springsteen or The War on Drugs. Here, Luke Beling proves his mastery of Americana songwriting – his storytelling and atmosphere bring to mind artists like Zach Bryan, though with a slighlty less country-leaning sound.

One of the highlights for me is the slow ballad A Little Living Tonight. It shows that Beling is just as powerful in the softer, more melancholic corners of his music as he is in the high-energy tracks. There’s a natural melancholy in his voice that seems to linger, and this track embraces it fully. I love the subtle production – it grows more ambient toward the end but never becomes overwhelming.

Another energetic and euphoric track is Every Now and Not Yet, which reminds me again of The War on Drugs, particularly through its crisp drums and precise production. I’m especially fond of the drum sound across the album — take One Road Out, for instance, where the percussion has this rich, wooden vibe that really stands out.

Sonically, Beling teamed up with Eugene-based producer Tyler Fortier for this record. Compared to his previous album, A Stone in the Mouth of the Ocean, this one leans more heavily on electric guitars and a full-band sound to bring the songs’ narratives to life. There’s another notable feature on the penultimate track, Crashing, where Joseph Pennell joins Beling on vocals. The song is elevated by the presence of banjo and a beautifully arranged instrumental section.

It’s been a long time since I’ve heard an album that feels this well-crafted both sonically and in its songwriting. It’s precise and polished, yet still raw enough to feel genuine and deeply human.

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