Dune Messiah describes the Western human’s loss of control on new single ‘Lucy Gray’ from forthcoming album

After an EP, two albums and several tours in Europe, Danish deviant pop-artist DUNE MESSIAH aka singer, songwriter and multi instrumentalist Magnus W. Jespersen is now ready with his third album 'Privileged' set for an October 14th 2022 release on the new label Wet Desert. On ‘Privileged’, the punk attitude is replaced with latin rhythms, Spanish trumpet and saxophones, setting the scene for frontman and songwriter Magnus W. Jespersen’s chilling crooner vocals and metaphorical lyrics meditating on the dark sides of existence, loneliness and the decay of the surrounding world.

Until now, three singles have been released - the album title track, 'Death on Wheels' and 'In Front of Others' - and today sees the release of the fourth single 'Lucy Gray'. The lyrics are a poem by William Wordsworth, that deals with the loss of love and nature's forces. In relation to the album's theme, the song is a reminder, that even the most privileged and disciplined human being is the subject to loss and grief in a world governed by uncontrollable forces. The song is guested by the saxophone icon Joseph Shabason, who is known for his work with Destroyer among others.

Also, watch the video for ‘Death on Wheels‘ Dune Messiah - Death on Wheels (Official Video) - YouTube

On ‘Privileged’, Dune Messiah has broadened the expressive span in regards to both music, production and lyrics. Inspired by the huge 90’s productions from the likes of Roy Orbison and Vaya Con Dios, he includes new sounds and instrumentation such as mexican trumpets, analogue drum machines and keyboards with acoustic instrument samples reproducing xylophone and marimba. All this is complimented by a 90’s-lush saxophone by Joseph Shabason from Canada’s Destroyer resulting in an analogue, warm soundscape that delivers a balanced counterplay to Jespersens chillingly observing songwriting and vocal performance.

‘Privileged’s interplay between cold and warm, between a narrative of agony and a luxurious, almost “sexy” production supports the album theme - the northern European’s ambivalence towards its own privileged life in the midst of a world of crisis and conflict. As an extension of this, the small, peculiar love songs compromising the album contain a twist of humor, irony and discomfort with an imminent feeling of ineptitude. At the same time, the suffering is real, as the privileged also exist in this world as a human capable of feeling pain and loneliness - privileged, white, man or not