Richard Sallis - ​Felix

​Richard Sallis

​Felix
self-released; 2025 

TOP ALBUM

By Matt Jensen
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Richard Sallis, a songwriter, producer, and musician from Adelaide, South Australia, has built a reputation for his work as the former lead vocalist of art rock outfit Stock Exchange and progressive pop band The Cameramen. After an eight-year hiatus, Sallis returns with Felix, a solo album that plunges into deeply personal and artistic territories.

The album’s thematic core revolves around impending fatherhood, a complex web of emotions Sallis describes as a mix of fear, excitement, apprehension, and relief at no longer being the central figure in one’s own life. Yet, Felix is anything but singular in focus. It ventures into various sonic and conceptual realms, unified by Sallis' distinct creative voice.

Opening with “The Kid Has Gone Missing,” the record sets an ethereal tone. The track carries a gospel-like quality, enhanced by spectral vocal harmonies and a texture that recalls the atmospheric depth of Spiritualized. Feedback and white noise, used masterfully, add layers of tension and warmth, evoking a filtered, almost dreamlike perspective—a subtle metaphor for transformation.

“A Song for the Broadcasters” shifts to a vibrant indie rock pulse, reminiscent of mid-2000s staples like Wolf Parade and Arcade Fire. Its dynamic grooves and brassy flourishes are matched by intricate vocal harmonies, making it an anthem that brims with energy and nostalgia.
“The Bill and Dean Orchestra” draws from a jazzy, off-kilter aesthetic. The upright bass anchors the track with an organic richness, while Sallis’ vocal delivery crescendos into a raw, emotive outpouring that evokes the primal energy of Conor Oberst. It’s a track that balances grit and elegance in equal measure.

On “My Old Unexpected Friends,” Sallis turns introspective. Repeating motifs ground the song, which blossoms into a celestial, uplifting groove. Its progression feels both meditative and expansive, paving the way for the album’s standout moment, “No Time Like the Present.” This track captures Sallis at his most passionate, with soaring vocal lines and a sweeping arrangement that channel the best of Arcade Fire’s grandeur.

The album's longest piece, “Bouncing Masquerade Ball,” stretches just shy of eleven minutes, a sprawling post-rock epic with echoes of Godspeed You! Black Emperor. It’s a bold, cinematic journey that rises to towering emotional peaks before transitioning into the hushed, minimalist closer, “The Kid Has Been Found.” This final track offers a serene, choral-style farewell, leaving the listener in quiet reflection.
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While Felix traverses a broad spectrum of styles, Sallis ensures each song feels like its own distinct world. The album’s strength lies in its ability to balance ambition with intimacy, crafting a work that is as multifaceted as it is personal. It’s an impressive return and a compelling way to kick off the year. Highly recommended.

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