Released on 25 August 2026, Hoxsey’s Ghost We Keep is an 11-track trip into a strange, theatrical universe where circus imagery, haunted figures, mortality, memory and surreal storytelling constantly overlap. Rather than simply making dark music, Hoxsey builds a world around it, one filled with mysterious characters, abandoned places and lingering shadows.
1. Skeleton Key (feat. Taliba Fields): throws open the album’s door with theatrical chaos. Circus imagery, demons, skeletons, strange performers and sinister celebrations create an immediately vivid setting. Taliba Fields adds to the atmosphere, while the song establishes Ghost We Keep as something closer to a dark musical carnival than a conventional rock record.
2. The Road (feat. Taliba Fields): takes the album out of the carnival and onto a much more introspective journey. Heavy instrumentation supports lyrics about solitude, influence, choices and following your own path. Its recurring road imagery gives the track a restless quality, as though the destination matters less than continuing forward.
3. Josaphina (feat. Taliba Fields): turns childhood imagery into a creepy nightmare. The dolls, porcelain imagery and repeated references to watching eyes create an unsettling sense of being trapped inside a haunted playroom. Taliba Fields helps give the song its theatrical personality, while the memorable refrain makes Josaphina an instantly recognizable figure.
4. Charm Cider (feat. Taliba Fields): is one of the album’s strangest stories, blending temptation, betrayal, transformation and dark fantasy. Its imagery feels almost like a twisted fairy tale taking place inside a smoky tavern. The narrative eventually expands into a surreal voyage, making this another strong example of Hoxsey’s unusual storytelling approach.
5. Old Man McKenzie’s Basement (feat. Taliba Fields): Short, repetitive and deliberately unsettling, “Old Man McKenzie’s Basement” functions more like an atmospheric interlude than a conventional song. Its marching count creates tension through repetition, almost like footsteps approaching from somewhere you cannot see. It effectively resets the mood before the album enters its heavier second half.
6. The Introduction of Sgt. Capone (feat. Taliba Fields): Sgt. Capone arrives with military chants, spoken-word material and heavy metal force. The track explores obedience, authority and the machinery of war through its commanding structure. The repeated orders and marching language make it feel like a sinister recruitment sequence, introducing another character into Hoxsey’s increasingly elaborate universe.
7. Pixelated Whorror: moves the album from haunted carnival territory into a digital nightmare. Space travel, eight-bit imagery, programming and artificial reality collide as the song questions the boundary between fantasy and technological control. Its futuristic concept gives Ghost We Keep another dimension without abandoning the album’s darker personality.
8. Scratches: strips things back dramatically. Built around a dark beat, humming and the repeated image of scratches, the track feels more like a disturbing soundscape than a traditional song. Its simplicity is precisely what makes it effective: there is little to hold onto, leaving the listener inside the tension.
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9. Julian Man: introduces an unexpectedly playful character into the album’s shadowy world. Its repetitive vocal phrases and almost childlike descriptions create a bizarre contrast with the heavier material surrounding it. That contrast works, giving the record a weird sense of humor while reinforcing its fascination with unusual personalities.
10. A Ride With the Four Horse Men in 1888 (feat. Taliba Fields): This track feels like a journey into an old-world apocalypse. Horsemen, skulls, famine, plague, graves, witches and fate fill the narrative with gothic imagery. The song has the scale of a dark legend, presenting death not simply as an ending but as a force waiting patiently along the road.
11. Corpses Ball Room (feat. Taliba Fields): “Corpses Ball Room” is a fitting finale, bringing the album back to its central concern: what remains after people and places are gone. Its ballroom imagery turns memory into a ghostly dance, with old love, loss and repetition circling endlessly. It closes Ghost We Keep with haunting elegance.
Ghost We Keep works because Hoxsey never treats darkness as a single mood. Across 11 tracks, darkness becomes theatrical, funny, frightening, nostalgic, political and deeply personal. The album feels like wandering through an abandoned carnival after midnight, every corner revealing another character, memory or strange story. It is an ambitious world-building exercise with enough musical variety to keep the journey unpredictable.
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