Bec Sandridge has shared the second preview of their forthcoming ‘Lost Dog’ EP, an energised synth-pop belter called ‘The Jetty’.
The song features guest vocals and synth work by Andy Bull – a collaboration that, as Sandridge explained in a press release, began as something much less significant. “Initially, Andy came into the studio to play synths on the track,” they explained. “I was beyond honoured when he asked if he could sing on the track as well.
“I’ve been a big Andy Bull fan for a very long time and completely adore what he does vocally, lyrically and in particular, all of the synth sounds he uses. Dave (Jenkins Jr) had the genius idea that we make the track a Joni Mitchell-esque ‘Snakes and Ladders’ duet whereby Andy kinda drops in and out of the second verse in a non-linear kind of way – which I love.
“An old collaborator, Tony Buchen, also did some additional production on the track, which was a nice full-circle moment.”
Have a listen to ‘The Jetty’ below:
As for the song’s thematic concept, Sandridge said ‘The Jetty’ was written about an experience they’d had in Hiroshima, Japan, where their ex-partner had fallen off an actual jetty. “I attempted to pull her out [and] hilariously, I also fell in,” they said, noting that their “passports, phone [and] paper-money were all completely gone”.
“This felt like the perfect analogy for our relationship,” Sandridge continued: “losing ourselves and each other, whilst trying to salvage every last water-damaged object that we had on us. I guess, this one asks the sea-sick question: ‘Is there something (or someone) else out there?’”
‘The Jetty’ comes as the second track to be shared from ‘Lost Dog’, following ‘Cost Of Love’ back in June. The EP itself will be out on October 7, and serves as the follow-up to Sandridge’s 2019 debut album, ‘Try + Save Me’.
“I was a bit of a lost dog, myself and I also lost my dog. This EP is a snapshot of that time,” Sandridge said of the EP upon its announcement. Their primary aim in the songwriting process was to “take time and write [their] best songs to date”, they said, admitting that on ‘Try + Save Me’, they “hadn’t gone as far as [they] could in terms of angularity and the whole gloss-pop thing”.
“I wanted to really sit in that pocket,” Sandridge continued. “To me, this lot of songs feels like driving into a sunset, no sunglasses, with an ache in the pit of your stomach: it’s sickeningly beautiful, temporarily blinding and also, signifying the end of a big ol’ chapter.”