KEELEY Expand Their Sonic Odyssée on Girl On The Edge Of The World
Released on February 20, 2026, Girl On The Edge Of The World sees KEELEY step confidently into their most expansive and immersive work to date. Blending dreampop, indie rock, shoegaze and post-punk textures, the album confirms the project’s singular voice within the UK alternative landscape.
Led by Dublin-born singer, guitarist and songwriter Keeley Moss, KEELEY functions both as a personal artistic vision and a close-knit collective. Alongside Moss, Lukey Foxtrot (bass, keyboards) and Andrew Paresi (drums, programming) shape the sonic framework, with long-time collaborator Alan Maguire contributing to the production process. Together, they craft a sound that feels both intimate and widescreen, rooted in storytelling yet unafraid of atmospheric ambition.
This third full-length album is widely regarded as their most eclectic release so far. It stretches beyond traditional indie rock boundaries, weaving in ambient electronics, pastoral psychedelia and shimmering shoegaze layers. Guitars bloom and recede like tides, rhythms pulse with understated urgency, and synth textures drift in and out of focus. The result is immersive without becoming overwhelming, detailed without losing emotional clarity.
At the heart of Girl On The Edge Of The World lies a conceptual thread inspired by the life and tragic fate of Inga Maria Hauser, a young German traveller whose disappearance in Northern Ireland in 1988 deeply affected Moss. This narrative has quietly informed KEELEY’s artistic world across multiple releases, but here it reaches a new level of refinement. The album does not attempt to sensationalise. Instead, it honours memory through atmosphere and lyrical sensitivity, transforming biography into something poetic and universal.
Notable collaborations further enrich the record’s texture. Miki Berenyi of Lush, Piroshka and MB3 appears on Big Brown Eyes, her voice adding a subtle glimmer that resonates with the album’s shoegaze lineage. Sice of The Boo Radleys contributes to Trains and Daydreams, lending warmth and depth to the sonic palette. These guest appearances feel organic rather than ornamental, blending seamlessly into the album’s immersive flow.
Critically, the album has been described as a sonic odyssey, a journey that moves between shadow and light, memory and motion. Its emotional arc unfolds gradually, rewarding patient listening. Rather than relying on obvious peaks, KEELEY favour nuance, allowing songs to expand and contract naturally, like scenes unfolding in slow cinema.
Currently touring across the United Kingdom, KEELEY bring this material to life on stage, translating the album’s layered arrangements into performances that feel intimate yet expansive. The live dimension reinforces the project’s strength: an ability to bridge personal storytelling with enveloping soundscapes.
With Girl On The Edge Of The World, KEELEY consolidate a distinctive artistic identity. It is an album that balances narrative depth with textural richness, anchored in indie rock but unafraid to drift into dreamlike terrain. A mature, confident release that confirms KEELEY as one of the more compelling voices navigating the space between shoegaze haze and emotive songwriting.
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