Wayne Bamba is a songwriter rooted in the corners of the Rocky Mountains and the Midwest, which, for someone like me with a soft spot for the American singer-songwriter scene, feels deeply romantic. Rocky Mountain Horror Story: Part I is his debut EP, following the 2023 mixtape Porsche Carriage. It marks the first chapter of a planned two-part series, with Rocky Mountain Horror Story: Part II scheduled for release in spring 2026.
The EP consists of five tracks and opens with “Dear Diary.” At first listen, the song immediately stands out thanks to Bamba’s vocal delivery, which sits prominently at the front of the mix. His voice is truly distinctive – carrying a strange melancholy and sorrow, almost a timeless sense of age. Instrumentally, the track is beautifully conceived and thoughtfully arranged, gently building toward a subtle lift at the end. Sonically, it reminds me of Andy Shauf – an artist I deeply admire – with occasional piano, synths, and soft ambient noises that enrich the atmosphere. Toward the end, the synth unexpectedly takes over, becoming the track’s driving force.
The second track, “Family Portrait (The Hills Have Eyes),” brings to mind Jens Lekman vocally. It feels even more brooding than the opener, aided by darker instrumentation – especially the slightly detuned, effect-laden guitars that create an almost horror-like tension.
A stronger R&B influence emerges on the third track, “Boys Running Track,” the longest song on the EP at over five and a half minutes. It opens in lo-fi, almost ambient territory, before introducing a deeper bassline and beat. Midway through, the song fractures into something genuinely unsettling, bordering on horror, as Bamba drops into an extremely low vocal register. The track shifts back and forth between these moods, maintaining an uneasy, cinematic tension throughout.
The fourth track, “Mary, May, Mabelene,” leans more heavily on piano. Nina Simone is cited as one of Bamba’s inspirations – an artist I also grew up listening to – and this jazz-tinged piece feels like a refreshing change of pace. Once again, Bamba’s delivery recalls Jens Lekman, particularly in its cinematic, almost literary quality. The lo-fi ending, in particular, left a strong impression on me.
The closing track, “Wanawado,” is arguably the most unsettling moment on the EP. Its atmosphere, shaped by various effects, reminded me of Robert Wyatt’s Rock Bottom. Here, Bamba fully embraces experimentation. In its eerily inviting darkness, the song also echoes some of the more adventurous moments from Tim Buckley’s Starsailor.
Rocky Mountain Horror Story: Part I is a haunting, cinematic debut that blends melancholy songwriting with experimental textures, revealing Wayne Bamba as a distinctive and emotionally resonant voice in contemporary American music. I’m really looking forward to the second part. (And I also have to praise the excellent cover artwork!)
This album was discovered via Submit Hub
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