The Submarine is the stunning debut creation of Melbourne’s Lawrence Greenwood. Better known as Whitley, Greenwood’s debut album may be a short piece (only coming in at just over half an hour), but it is one that draws the listener deep into Whitley’s world of folksy tales and electro experimentalism. The album’s mix of classic and modern instrumental elements is the sound of Whitley taking a risk that pays off, the blend giving appropriate colour to his despairing tales of regret, love and love lost and complementing the hushed tones in Whitley’s voice

Balmy opener ‘Cheap Clothes’ introduces the listener to Whitley’s gentle, almost whispering voice and sharp banjo plucking. These elements, as well as the ever present violins, are found throughout The Submarine, providing the natural foundations that back the sampling littered throughout the record. This instrumentation sets the scene for the album to follow: an easy listen with enough intriguing moments to ensure its shortness does not become a downfall.

What sets The Submarine apart from other folk records is Whitley’s unique inclusion of electro elements into his songs. The short ‘More Than Whole’ uses these electro inclusions perfectly through a string of sampling that creates a warping sensation for the ears. Whilst at the heart of this album Whitley is producing acoustically driven folk/pop, his experimentation with such sampling showcases his ability to explore new realms and rise above his peers.

Electronic sampling is by no means used excessively, however, and Whitley proves that he does not require gadgetry to sell his songwriting. Nowhere is this talent more evident than on ‘I Remember’, a vulnerable, acoustically driven track that has drawn Whitley some attention through radio airplay without the aid of the bleeps and buzz. Additionally, the inclusion of traditional choir-sounding vocals is greatly to the benefit of The Submarine; ‘All is Whole’ would be lost without the inclusion of its choir, which blatantly steal the attention from Whitley’s meandering voice. 

Just as Whitley balances traditional and electro elements, likewise his progression between light and dark themes on The Submarine ensures variety. There is an eerily dark feel about songs such as the title track, ‘The Submarine’, its warbling samples, deep percussive elements and beautifully harmonised, high-pitched “oohs” create a haunting sound, before a lone violin breaks in, completely stealing the track. Its darkness is juxtaposed by ‘White Feathers, Strange Sights’, which, whilst again drawing upon sampling and percussion, is a much brighter addition. Such a variation on mood enables the listener to sit through an entire listening of The Submarine without losing interest.

Whitley again produces his banjo for the Jeff Buckley cover, ‘Mojo Pin’. Whitley’s rendition is stripped back with only guitar and banjo, and whilst he makes the song his own, it still seems oddly placed amongst such a short selection of originals on the record. 

Whitley has taken a selection of refreshing songs and has crafted them in such an original way it’s not hard to see why he’s live act has been so successful – scooping slots at this year’s Splendour in the Grass line-up, as well as openings for Clare Bowditch, Josh Pyke and The Panics. This song craft and Greenwood’s willingness to branch out with instrumentation allows The Submarine to draw the listener in quickly, an ability that the album manages to justify and maintain.