It didn't take long before Josh's unique voice and song writing style, influenced by the likes of Elliott Smith, Evan Dando, and Sparklehorse, began to find favour amongst music tastemakers, critics and Triple J listeners. The first taste, the assured 'Kids Don't Sell Their Hopes So Fast', found high rotation on Triple J and soon 'Silver' and the gently sweeping 'Doldrums' followed to similar praise and airplay. These tracks are now available on the CD 'Recordings 2003-2005' through The Million records.
Josh signed to Ivy League Records in 2005 and shortly afterwards travelled to New York for some further writing, performing and demoing and upon return set about recording what was his debut release under his own name, a mini album entitled "Feeding The Wolves".
"Feeding the Wolves" signified a great deal more than a change in name: It revealed a huge step in the development of Josh as an artist and songwriter. The subject matter was as broad as titles like "Beg Your Pardon", "Private Education", "Middle Of The Hill" and "Goldmines" suggest, however it's Josh's lyrics that draw this collection of songs together into a complete package. He cleverly dissects human emotion and feelings and shows them for what they are: complex, abstract, fascinating.
There is hope in the opening track 'Beg Your Pardon' and in 'Fill You In' there is emptiness and longing. The first single, 'Middle Of The Hill', is a near-stream of consciousness of a suburban childhood - family affection coloured by those sometimes darker, sometimes trivial details that for some reason stay with you. 'Goldmines' a vision of a land, or maybe a talent, stripped of its riches - but here and there a flash of colour survives. A relationship that seems to be an ongoing test is at 'Private Education's' centre. The title track finishes it, with Josh quick to point out the Wolves are not those wanting a piece of you for whatever reason - but those uncontrollable, irrational, emotions inside yourself that you have to keep in check.
With production by the much-lauded Wayne Connolly (You Am I, Underground Lovers, Youth Group, just about any Australian act of note...), "Feeding The Wolves" had the artist now rightly known as Josh Pyke letting his talent flow without constraint. The words seem to tumble out of him: honest, evocative, and emotional all at once. The playing - again mostly all Josh - is one moment sweetly melodic, then turning urgent and insistent as needs be. This range of feelings, packaged so they bounce around inside your head like good songs do, and given so generously, go together to make "Feeding The Wolves" the sound of an artist beginning to realise an enormous potential.
In 2007 Josh released his first full-length album 'Memories and Dust'. Although the record features three of the stand-out tracks from 'Feeding the Wolves' there are a further 8 tracks of similar quality, including the title track, which was the first single taken from the new batch. The release is again through Ivy League Records.
Josh's second album Chimney's Afire was released 4 October 2008 and was recorded at Sydney's Linear Recording studios. The first single off the album was "The Lighthouse Song", and the second was called "Make You Happy".
Staring Down the Sun
Josh Pyke Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
but I've been holding this candle up to the sun for much too long.
But when the day takes its leave of the night,
I can cast aside the flame,
but the morning brings obsession and obsession brings that vigil on again.
Not too sentimental, but I want you to know,
that I drove past your street tonight on my way back from a show.
and I could feel your sweet eyes, watching headlights roll by,
maybe you noticed one, swept by a little too slow,
and on down that road.
On down that road.
We ask these questions, then we cover our ears,
but I think a question unanswered's much worse than an answer you don't want to hear.
When your silence grows wings and your doubts start to travel
now the seams between the virtual and real they unravel now.
What have you done?
Don't you know not to stare into the sun,
but on down that road?
but on down that road?
but on down that road
What have you done? Don't you know not to stare into the sun?
The lyrics to Josh Pyke's song Staring Down the Sun convey a sense of obsession and infatuation, as the singer can't seem to let go of the object of their desire. The metaphorical image of holding a candle up to the sun represents how futile it is to try and pursue something that is unattainable. The singer knows that what they're doing is foolish, but they can't help themselves from obsessing over this person. They express that each morning brings a renewed obsession and a need for vigilance over their feelings.
The second verse takes a more personal turn, revealing that the singer has not only been thinking about this person but has been physically close to them. They drove past their street and felt as though they were close to them, even though they likely went unnoticed. This image of someone driving by, trying to catch a glimpse of someone they're infatuated with, is relatable and illustrates the singer's preoccupation with this person.
The final verse brings up the idea of unanswered questions and how they can be more damaging than hearing an answer that we don't want to hear. The singer warns against staring into the sun (a metaphor for pursuing something blindly), but it seems that they are unable to take their own advice. The last lines, "but on down that road? but on down that road? but on down that road/What have you done? Don't you know not to stare into the sun?" imply a sense of helplessness as the singer knows they shouldn't pursue this person, but they can't resist the urge to keep going down that road.
Line by Line Meaning
I know it's foolish, and I feel so wrong,
I am aware that what I am doing is foolish, and it makes me feel uneasy.
but I've been holding this candle up to the sun for much too long.
I have been pursuing something that is unattainable or unrealistic for an extended period of time.
But when the day takes its leave of the night, I can cast aside the flame, but the morning brings obsession and obsession brings that vigil on again.
At night, I can let go of my unhealthy obsession, but in the morning, it reignites and consumes me once again.
Not too sentimental, but I want you to know, that I drove past your street tonight on my way back from a show.
I want to convey that I am not being overly emotional, but I feel the need to acknowledge that I saw your street while driving home.
I was less than one hundred footsteps away from you I suppose, and I could feel your sweet eyes, watching headlights roll by, maybe you noticed one, swept by a little too slow, and on down that road. On down that road.
I was close to your location, and I had a sense that you might have noticed me, even if it was just a fleeting moment.
We ask these questions, then we cover our ears, but I think a question unanswered's much worse than an answer you don't want to hear.
We often avoid asking difficult questions, but not knowing the answer can be worse than receiving an unpleasant one.
When your silence grows wings and your doubts start to travel now the seams between the virtual and real they unravel now.
When you become distant and uncertain, the boundaries between reality and imagination become blurred.
What have you done? Don't you know not to stare into the sun, but on down that road?
The artist questions what the other person has done to cause the current situation and warns against pursuing something that will have negative consequences.
but on down that road?
The repeating phrase emphasizes the idea of continuing down a path that may have negative ramifications.
What have you done? Don't you know not to stare into the sun?
The artist reiterates their warning against pursuing a harmful path.
Contributed by Cole I. Suggest a correction in the comments below.