Rollo Doherty - The Jelly Man (2026) [Hi-Res]
![Rollo Doherty - The Jelly Man (2026) [Hi-Res]](https://www.dibpic.com/uploads/posts/2026-10/1791175110_592x592bb.jpg)
BAND/ARTIST: Rollo Doherty
- Title: The Jelly Man
- Year Of Release: 2026
- Label: Lewis Recordings
- Genre: Alternative, Dream Pop, Indie Pop
- Quality: mp3 320 kbps / flac lossless (tracks) / flac 24bits - 48.0kHz
- Total Time: 00:36:12
- Total Size: 87 / 228 / 431 mb
- WebSite: Album Preview
Tracklist
01. Sway
02. On The Island Train
03. Wah Wah
04. Waterfall
05. Where'd My World Go?
06. On Your Way Home
07. Andrew's Song
08. Villager (For Your Love)
09. Flowers
10. Cruel
Rollo Doherty has been the voice at the front of ISLAND since the mid-2010s, a London guitar band formed in Oxford that made two albums for Frenchkiss and sold out KOKO with shimmering, wide-screen indie rock built for big rooms. His solo work has been edging somewhere quieter. The Out My Window EP started life in his Hackney bedroom during lockdown, its songs threaded together with sounds he recorded from that window at different hours of the day. It won him support slots with Skinshape and Palace, tours on which he rebuilt his songs for a single guitar, a loop pedal and a violin bow. The Jelly Man, his first full-length album, heads south.
The label is part of the story. Lewis Recordings began in London in 2001 as an underground hip-hop imprint, home to Edan and Stig of the Dump, before Skinshape‘s home-taped psych-soul gave it a second identity. Its roster has a habit of turning up on each other’s records: Skinshape mixed The Still Brothers‘ ‘Wake Up’; The Still Brothers remixed DJ Yoda; DJ Yoda scratched on Out My Window.
The Still Brothers are the reason The Jelly Man sounds the way it does. Evan Heinze, once of Big Crown’s The Shacks, and Andrew LeCoche of Ula Ruth started the duo in Brooklyn. Their self-titled EP was a stunning selection of seventies, eighties and nineties inspirations. They are not new to Doherty‘s songs either. Their analogue arrangements, mixed by Mike Hill, were already central to Out My Window. This album brings the same team together for its second outing, now gathered at the studio the duo keeps in North Florida.
Over several trips out, Doherty recorded to an eight-channel Tascam tape machine in a shaded suburban studio. The songs were shaped by memories of the town’s slow rhythm. Titles such as ‘On the Island Train’, ‘Waterfall’ and ‘Flowers’ read like postcards home. Florida gives the whole album a summer feel that holds from the opening song to the last.
I get the indie-pop tag, but it only tells part of the story. Doherty‘s voice belongs with modern folk and the singer-songwriter tradition. Imagine these songs sung in Portuguese, in some parallel universe, and they would be praised alongside much of the current wave of music out of Brazil, so it pays to keep an open mind. That isn’t such a stretch. The cuíca turns up twice on the record, while Heinze‘s other duo, Ímã, makes slow, MPB-leaning songs in St. Augustine for the same label.
What makes the record interesting is the setting: a folk-leaning songwriter placed on a production bed built from soul, funk and hip-hop instincts. Others have walked that road. Bahamas, a songwriter whose very name is a daydream of the tropics, cut Earthtones in Los Angeles with Pino Palladino and James Gadson underneath his songs. Khruangbin, with whom Heinze has toured, made Texas Sun alongside Leon Bridges, a record named for the state that shaped it. Florida has its own precedent: in 1974 Eric Clapton recorded at Criteria Studios in Miami and named the album after the beach house he stayed in, 461 Ocean Boulevard. The Jelly Man belongs in that company of records where a place sets the pace.
Eight channels of tape is a tight budget, yet the production here is expansive. The Still Brothers spread the arrangements wide while a rotating cast of guest players drops in from song to song.
The ten songs split five a side. ‘Sway’ opens Side A before ‘On the Island Train’ arrives with the makings of a hit single: sci-fi bongos with cuíca. What’s not to like? ‘Wah-Wah’ has a seventies feel. The inspiration is on the tip of my tongue, but my failing memory can’t quite spit it out. It’s a lovely feel-good tune all the same. ‘Waterfall’, the longest song here, needs a festival stage; it’s big, broad and massive. The cuíca comes out of the cupboard again for ‘Where’d My World Go?’, closing the side with synthy beach towels and fancy cocktails.
Side B turns for home with ‘On Your Way Home’. Doherty‘s voice suits its pace, while guitar and violin add umbrellas and curly straws to the mix. ‘Andrew’s Song’ is lush, with many instruments working together. On ‘Villager (For Your Love)’, the groove is laid, and the backing singer is ready. Then the whole thing lifts and soars. Soulful. ‘Flowers’ lets loose a tight, funky rhythm, all swirls of strings and plenty of sunblock. ‘Cruel’, the bluntest title saved for last, opens with overlaid vocals before the drums take up the pace, sunroof off.
It’s creative. It’s the sound of now, carried by a voice that will attract a mainstream audience. I hope that those listeners then follow these vibes further into the jazzier, soulful world we cover here, where plenty would sit beside it on a late-summer mixtape. The Jelly Man’s arrival suits a record made from summer memories. It will make you happy, force smiles on the miserable, and give hope to the disillusioned. My spirits have truly been lifted.
01. Sway
02. On The Island Train
03. Wah Wah
04. Waterfall
05. Where'd My World Go?
06. On Your Way Home
07. Andrew's Song
08. Villager (For Your Love)
09. Flowers
10. Cruel
Rollo Doherty has been the voice at the front of ISLAND since the mid-2010s, a London guitar band formed in Oxford that made two albums for Frenchkiss and sold out KOKO with shimmering, wide-screen indie rock built for big rooms. His solo work has been edging somewhere quieter. The Out My Window EP started life in his Hackney bedroom during lockdown, its songs threaded together with sounds he recorded from that window at different hours of the day. It won him support slots with Skinshape and Palace, tours on which he rebuilt his songs for a single guitar, a loop pedal and a violin bow. The Jelly Man, his first full-length album, heads south.
The label is part of the story. Lewis Recordings began in London in 2001 as an underground hip-hop imprint, home to Edan and Stig of the Dump, before Skinshape‘s home-taped psych-soul gave it a second identity. Its roster has a habit of turning up on each other’s records: Skinshape mixed The Still Brothers‘ ‘Wake Up’; The Still Brothers remixed DJ Yoda; DJ Yoda scratched on Out My Window.
The Still Brothers are the reason The Jelly Man sounds the way it does. Evan Heinze, once of Big Crown’s The Shacks, and Andrew LeCoche of Ula Ruth started the duo in Brooklyn. Their self-titled EP was a stunning selection of seventies, eighties and nineties inspirations. They are not new to Doherty‘s songs either. Their analogue arrangements, mixed by Mike Hill, were already central to Out My Window. This album brings the same team together for its second outing, now gathered at the studio the duo keeps in North Florida.
Over several trips out, Doherty recorded to an eight-channel Tascam tape machine in a shaded suburban studio. The songs were shaped by memories of the town’s slow rhythm. Titles such as ‘On the Island Train’, ‘Waterfall’ and ‘Flowers’ read like postcards home. Florida gives the whole album a summer feel that holds from the opening song to the last.
I get the indie-pop tag, but it only tells part of the story. Doherty‘s voice belongs with modern folk and the singer-songwriter tradition. Imagine these songs sung in Portuguese, in some parallel universe, and they would be praised alongside much of the current wave of music out of Brazil, so it pays to keep an open mind. That isn’t such a stretch. The cuíca turns up twice on the record, while Heinze‘s other duo, Ímã, makes slow, MPB-leaning songs in St. Augustine for the same label.
What makes the record interesting is the setting: a folk-leaning songwriter placed on a production bed built from soul, funk and hip-hop instincts. Others have walked that road. Bahamas, a songwriter whose very name is a daydream of the tropics, cut Earthtones in Los Angeles with Pino Palladino and James Gadson underneath his songs. Khruangbin, with whom Heinze has toured, made Texas Sun alongside Leon Bridges, a record named for the state that shaped it. Florida has its own precedent: in 1974 Eric Clapton recorded at Criteria Studios in Miami and named the album after the beach house he stayed in, 461 Ocean Boulevard. The Jelly Man belongs in that company of records where a place sets the pace.
Eight channels of tape is a tight budget, yet the production here is expansive. The Still Brothers spread the arrangements wide while a rotating cast of guest players drops in from song to song.
The ten songs split five a side. ‘Sway’ opens Side A before ‘On the Island Train’ arrives with the makings of a hit single: sci-fi bongos with cuíca. What’s not to like? ‘Wah-Wah’ has a seventies feel. The inspiration is on the tip of my tongue, but my failing memory can’t quite spit it out. It’s a lovely feel-good tune all the same. ‘Waterfall’, the longest song here, needs a festival stage; it’s big, broad and massive. The cuíca comes out of the cupboard again for ‘Where’d My World Go?’, closing the side with synthy beach towels and fancy cocktails.
Side B turns for home with ‘On Your Way Home’. Doherty‘s voice suits its pace, while guitar and violin add umbrellas and curly straws to the mix. ‘Andrew’s Song’ is lush, with many instruments working together. On ‘Villager (For Your Love)’, the groove is laid, and the backing singer is ready. Then the whole thing lifts and soars. Soulful. ‘Flowers’ lets loose a tight, funky rhythm, all swirls of strings and plenty of sunblock. ‘Cruel’, the bluntest title saved for last, opens with overlaid vocals before the drums take up the pace, sunroof off.
It’s creative. It’s the sound of now, carried by a voice that will attract a mainstream audience. I hope that those listeners then follow these vibes further into the jazzier, soulful world we cover here, where plenty would sit beside it on a late-summer mixtape. The Jelly Man’s arrival suits a record made from summer memories. It will make you happy, force smiles on the miserable, and give hope to the disillusioned. My spirits have truly been lifted.
| Pop | Rock | Alternative | Indie | FLAC / APE | Mp3 | HD & Vinyl
As a ISRA.CLOUD's PREMIUM member you will have the following benefits:
- Unlimited high speed downloads
- Download directly without waiting time
- Unlimited parallel downloads
- Support for download accelerators
- No advertising
- Resume broken downloads