It’s a funny thing—”Bad Neighbors” doesn’t feel like a decade-old song. It drifts in like something you’ve had on repeat for years without realising it. That signature Moss formula is here again: moody electronics, a voice that barely needs to raise itself to carry weight, and a sense of rhythm that’s more glide than groove. There’s this hush to it—like walking through a fog at 2 a.m. and suddenly hearing your own thoughts a little louder.
It leans toward the chillier corners of prog-pop, without going full ambient. There’s enough structure to hum along to, but also enough space to get lost in. You can hear how “Bad Neighbors” was written in the same breath as “VCR Machine“—the tones match like siblings—but this one’s darker, more internal. The kind of track that doesn’t push its way to the front of the playlist but ends up looping endlessly when you’re not watching.
Moss himself said this track had been “copied from one computer to the next over the years”, never quite making the cut—until now. And maybe that’s why it feels so lived in. Like it’s been simmering, waiting for the right light to be seen in. With that familiar downtempo tug and a voice that always carries some gentle ache, “Bad Neighbors” feels both unresolved and perfectly finished. Hypnotic, smooth, and subtly addictive.
About Elliot Moss:
Of course, Elliot Moss is no stranger to the long game. Since “Slip” quietly broke the internet (and melted a few dance floors in the process), he’s been steadily building his own corner of indie-electronic, never too loud, never too far from heartbreak. “Highspeeds” became his cornerstone, drawing comparisons to Chet Faker, James Blake, and Bon Iver, and this 10th-anniversary expanded release is a reminder of how well his work still holds up. The man knows his shadows, and he knows how to make them shimmer.
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