Review: STVRHØUND’s SØMEDVY
STVRHØUND
SØMEDVY
Independent
There is something beautifully human about SØMEDVY.
The latest offering from STVRHØUND, the solo project of former Chaos Divine bassist Michael Kruit, feels less like a song and more like a transmission drifting through deep space. It is intimate, cinematic, nostalgic, and beautifully melancholic.
The track opens with the gentle ambience of falling rain before Kruit introduces a delicate acoustic guitar figure that immediately establishes the song’s emotional gravity. It is a gorgeous opening statement. Warm, patient, and unhurried. The kind of introduction that invites the listener to sit with their thoughts rather than demanding their attention through sheer volume.
Kruit’s vocal treatment is particularly striking. Bathed in lo-fi texture and subtle fuzz, his voice carries a nostalgic quality that recalls late-night cassette recordings, distant memories, and half-forgotten dreams. It feels intentionally imperfect in all the right ways, lending authenticity to every word.
“Someday, In space, We’ll say, It’s good to be home.”
As the music momentarily pauses beneath a lingering vocal delay, a reverse cymbal sweeps the listener into the first verse. It is a simple production choice, yet one that perfectly captures the song’s overarching sense of movement and transition.
From there, the rain gives way to a fuller and beautifully rounded acoustic arrangement. The mix is exceptional throughout. Every element occupies its own space without ever competing for attention. Kruit’s vocals benefit from tasteful stereo imaging and lush reverb, creating an immersive soundscape that feels vast without becoming overproduced.
The careful restraint of the opening passages pays dividends when the chorus finally arrives. Built upon a haunting chord progression, shimmering synth textures, delicate piano flourishes, and soaring layered vocals, SØMEDVY reaches its emotional peak with genuine grace. The refrain carries a sense of longing that is impossible to ignore.
“Someday, In space, You’ll say, I’m on my way, To this distant place, a spot in space, I know, it’ll be good to have you home.”
There is no theatrical exaggeration here. No forced sentimentality. Just honest emotion delivered with remarkable sincerity. Kruit sounds as though he is reaching across impossible distances, searching for connection amongst the stars.
The influence of melody-first songwriting shines throughout. Fans of Perth’s own The Siren Tower will find plenty to love here, particularly in the way the song prioritises atmosphere, emotional weight, and memorable melodic phrasing over unnecessary complexity.
As the track progresses into its final movement, SØMEDVY transforms into something almost progressive in nature. The outro unfolds like an interstellar voyage, drifting through layers of texture and ambience before eventually returning home to the same rainfall that welcomed listeners at the beginning. It is a beautifully executed full-circle moment that reinforces the song’s themes of distance, longing, and belonging.
Artwork-wise, the accompanying cover perfectly complements the song’s emotional themes. The twin spirals symbolise two characters drifting apart while still holding onto hope of eventual reconnection. A fading face emerges from the composition, representing distance, memory, and the gradual blurring that occurs when separated by time and space. The charcoal-textured backdrop evokes the unknown vastness of the cosmos but avoids the clichéd imagery of stars and galaxies. Instead, its rough, imperfect texture reflects the grit, uncertainty, and untidy nature of the journey itself. It is a thoughtful visual choice that not only reinforces the song’s themes of longing and human connection but also serves as a subtle nod to Kruit’s former band Chaos Divine, particularly the visual and thematic DNA explored throughout The Human Connection and Colliding Skies.
A great deal deserves to be said about Kruit’s abilities as both a songwriter and engineer. The attention to detail is world-class. Every decision feels purposeful, while every sound serves the greater emotional picture. Produced, mixed and mastered at Hammerspace Recording by Troy Nababan, the track balances clarity, warmth and atmosphere in equal measure; the result is a listening experience that feels expansive, polished, and deeply immersive without sacrificing its soul.
Most importantly, SØMEDVY never loses sight of its emotional core.
In an era where so much music feels designed to grab attention for thirty seconds before disappearing into the algorithmic void, STVRHØUND have created something that lingers. Something that breathes. Something that asks the listener to feel.
And long after the final raindrops fade into silence, those feelings remain.
ANDY JONES