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".
Variations
Josh Pyke Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
No, it won’t hurt nobody if they don’t know
We could see it burning in the rear view mirror
But we can’t stop now
We turned the radio on
And in later conversations
We’ll never mention car rides
So don’t call my lover from your telephone
Don’t call my lover from your telephone
I don’t believe in the last lines of defence
So don’t call my lover from your telephone
And in later conversations
We’ll never mention talking at all
If it’s all a matter of timing
We’re not always happy to find out
We’re all variations of one another
Well it won’t hurt nobody if they don’t know
No, it won’t hurt nobody if they don’t know
We could see it burning in the rear view mirror
But it won’t hurt your daddy
If you don’t go home
The lyrics of "Variations" by Josh Pyke depict a situation in which the singer and another person drive away from something, possibly a fire, without stopping. The refrain "It won't hurt nobody if they don't know" suggests that the consequences of not stopping will be negligible as long as nobody finds out. They turn the radio on as they leave, implying that they are trying to distract themselves from what they are leaving behind. The two individuals seem to agree that they will not mention this car ride or any subsequent conversation about it in the future, indicating that what they are leaving behind is something they want to forget.
The second part of the song focuses on the idea of the singer's lover and the need to keep her protected from whatever they are leaving behind. The line "I don't believe in the last lines of defence" suggests that the singer does not want their lover to become a last resort or a means of escape in this situation. The refrain "don't call my lover from your telephone" emphasizes the protective instinct of the singer, showing that they do not want their lover to become involved in whatever they are leaving behind. The final lines imply that the situation is potentially dangerous, but that it won't affect others as long as they stay away.
Overall, the lyrics of "Variations" show a sense of urgency and a desire to escape something that is possibly dangerous. The idea of leaving something behind and trying to forget about it is a recurring motif throughout the song, and the protective instinct of the singer towards their lover suggests that there is something at stake. The refrain of "It won't hurt nobody if they don't know" adds a sense of secrecy and danger to the song, emphasizing the desire to keep what is happening hidden from others.
Line by Line Meaning
Well it won’t hurt nobody if they don’t know
Not knowing something won't cause any harm or pain.
No, it won’t hurt nobody if they don’t know
Repeating the same idea that not knowing won't cause any harm or pain.
We could see it burning in the rear view mirror
Observing something negative happening behind us that we cannot change.
But we can’t stop now
Despite seeing something negative, we must continue moving forward.
We turned the radio on
Using music as a distraction or coping mechanism for our current situation.
And in later conversations
We’ll never mention car rides
We will purposefully avoid bringing up past experiences to avoid any negative emotions associated with them.
So don’t call my lover from your telephone
Requesting that someone does not contact their significant other.
I don’t believe in the last lines of defence
Not relying on the final efforts or backup plans to solve problems or conflicts.
And in later conversations
We’ll never mention talking at all
Avoiding bringing up conversations we would rather forget or not discuss in the future.
If it’s all a matter of timing
Acknowledging that timing plays a significant role in outcomes and situations.
We’re not always happy to find out
Realizing that discovering certain truths or outcomes may not always make us happy or content.
We’re all variations of one another
Recognizing that despite our differences, we are all similar and connected as humans.
But it won’t hurt your daddy
If you don’t go home
Implying that withholding information or actions may not harm anyone, specifically the singer's father.
Contributed by David D. Suggest a correction in the comments below.