MYRNE Releases Stunning Debut Album In Search Of Solitude

Over the past few months, MYRNE has been building an undeniable hype around his debut album In Seach Of Solitude through a steady stream of singles that embrace a diversity that is unique to him as an artist. Out today, MYRNE’s 10-track album In Seach Of Solitude is a glorious trip through MYRNE’s evolution as an artist with features from Grabbitz, Rynn, Lost Boy, Karra, Kyle Reynolds, and April Bender.  Introspection, experimentation and the magic of collaboration are a clear theme throughout the album that expands and morphs into something truly special. Take a listen and enjoy the exclusive track-by-track review from MYRNE below.

Me ++ You

The first song off of the album, I wrote it without having an album in mind – just experimenting with a stadium-size song, that keeps growing and growing. The lyrics, “I’d rather have me / and you / than us / forever,” was just a feeling I had at the time with regard to relationships, where making a conscious decision to leave something comfortable can do wonders with self-acceptance. So this song was ultimately about growth. It pays homage to some of my older songs like “Artisan” and “Architect,” and this is a re-interpretation of that.

Another Life

In the whole theme of introspection, I wanted to create a song about rebirth and renewal – about leaving your past life behind after an epiphany, or after you’ve lived your life to the fullest point. One instance of that came to mind was Sydney Carton’s final act of sacrifice for Lucie, in a Tale of Two Cities – I just wanted to write a song about that. All the synths in this song were made on a Dave Smiths Prophet Rev2 – without MIDI, I was just jamming off the keyboard and recorded everything that I played, working exclusively with audio.

Otherside (feat. Grabbitz)

Nick (Grabbitz) is a beast! This song was written in a session with him in LA, where I played this demo that I had. I told him about the general atmosphere/mood of the album I had in mind, and he started singing off the top of his head. Soon we had a verse, he played some guitar, and after all that was done, he added a ton of cool things in post-production. I remember learning a lot that day.

All Night I’ve Been Waiting For You

The idea for this song came from Jamall Anthony – it was a last-minute demo recording that we both did at the end of a productive songwriting session with a bunch of friends. The demo just had the repeating title line, over some simple chords; it wasn’t until I was back in Singapore listening to all my demos that I decided to finish the lyrics and turn it into a full song. Most of my ideas I start myself, but a lot of interesting things happen when you build on top of the initial idea of someone else. That’s why collaborating is still so magical to me.

You Could Stay (feat. Rynn)

This was an instant favorite of mine. I was in the studio with Rynn writing, after telling her what I was aiming for with the LP, and we came up with something pretty cool. But it was only post-session when we were just sharing music with each other that I found out we had overlapping genres we were both interested in, and I sent over some instrumentals that I thought she would be good on. This came out of that.


In line with the themes of struggle, Hyperviolence is the peak. In political science, regime changes rarely come peacefully, and in personal growth, it is the same. I wanted to capture those feelings of pressure, internal turmoil, and triumph. Musically, I wrote the entire song with the stems of Higher; all synth sounds were put through various levels of granular synthesis.

Higher (feat. Lost Boy)

Dillon (Lost Boy) is amazing to work with; we wanted to write a song that was brooding and dark, yet dancey. I wrote the production specifically alongside what he was writing, so it was definitely a hand-in-hand process. I remember one of the working titles for the song was “Planetarium,” so I felt like I was producing for a tiny, dark dome for the song to rest in. It definitely helps to visualize a physical place, or setting, where the song you’re working on should be in.


With “Starsigns,” it was the song that I wanted to make for the longest time. When I met Sophie Simmons in LA to write, I think it was the fastest song I’ve ever done. She had practically gotten to the studio early, and I sent over a list of ideas to see if she liked them. When I pulled up everything flowed naturally. I wrote chords around her vocal and had her sing on the instrumental chorus through an amp. It really helped, creativity-wise, to let someone else lead, and not insisting that you have your way all the time when it comes to making music.

Worlds Away (feat. Karra)

The original runtime of this song was over 6 minutes. I really tried to sculpt a world with this one! It was done with an instrumental and I laid some vocals over it, before showing it to Karra. She loved it, and I felt she was a perfect fit for the song; I also spent quite a bit of time explaining what the song was about beforehand. Production-wise, I wanted to re-explore that idea of growth, so it was a lot of juxtaposing soft, quiet sounds with really loud ones.

Good At Being Alone (feat. Kyle Reynolds & April Bender)

This was intended as a sad song, but the creative process was the opposite of that. It was originally a session intended for just me and April, but we found out Kyle was a mutual friend and he came through to the session. Soon they were duetting verses together and I just went with it! yetep was in the room too and helped me out on production — we were just having fun with the project. I know the entire album is a lot about finding ‘solitude’ and personal struggle, but creating songs like these reminds me how fun it is to collaborate and make music with friends.