There is no doubt a strong sense of brotherhood keeps these six mates afloat on what can be an arduous career journey. Operating as a staunchly independent band in an industry that often operates behind smokes and mirrors, instability less complex than a global pandemic has destroyed less-tight-knit units. But Ocean Alley as a team have magic chemistry and this extends to the long-time partnership with their producer Callum Howell. He explained “Working together just feels natural for us, and for me at least, it never feels stale or like I’m forcing it. I’m always excited to be working on music that I genuinely love with a bunch of guys that I have a lot of love and respect for.” Baden elaborates, “Being best mates, it comes naturally. We’ve always been able to have disagreements on the road or in the studio or wherever we are and squash the problem and move on. It’s the reason we are still a band. I think without that we would have broken up ages ago.” This level of trust means the group is all about the music. There is no room for egos in the band, and exempt from ego, label A&R and TikTok mandates, Ocean Alley are free to explore their musicality based on instinct. Mitch shares “We’ve become aware in this climate of the industry that it’s more and more possible to have success without label backing. It suits some people and not others… Personally, we know that we can do music without it. It’s just suited our situation since the beginning and it’s good not having people on the outside telling you what you should and shouldn’t do.” Where in the past, Ocean Alley have cited the influence of 70s stalwarts such as Pink Floyd, Led Zeppelin and Dire Straits, Low Altitude Living sees the band construct their broadest ranging sonic framework yet. Across 12 diverse tracks, they manage to cohesively honour the traditional features of their beloved sound, and equally give it a refreshing, exciting new edge. The haunted and sensual ‘Parking Fines’ would slot right into an Interpol record, while the reverb-laden ‘Changes’ is reminiscent of sludgey ‘90s alt-rock, and the cruisey ballad ‘Snake Eyes’ brings a side of bluesy slide guitar akin to the Commodores. Mitch clarifies “It’s all still centred around a rock guitar, but we might have gone a bit heavier in moments.” Baden says “We’ve been a band for over 10 years now. Time and growing up are going to affect who we are, and what music we are playing. Naturally everyone’s music taste is changing as new records are released or discovered and inspire us in some way. We will continue to grow and change with each record.” Lach Galbraith (keys/vocals) adds “Pushing each other to try new things, inside and outside of music, is really important for us to keep things fresh. Musically our songwriting has become more intricate as we explore new styles and techniques in recording. We have higher expectations of ourselves when writing new material, and in that process, everything we put in is thoughtful and deliberate.” Mitch continues “It’s no secret that we don’t want to repeat ourselves… there’s a constant sense of betterment, growth and exploration.”