1. All In All
2. Jenny
3. Already In
4. I Wish I Knew
Tel Aviv’s Eyal Erlich is not interested in surface gloss. The singer-songwriter instead reaches deep into the marrow of classic rock, blues, and alt-folk to sculpt songs that are equal parts raw confession and melodic craft. With his latest batch of tracks—“All In All,” “Jenny,” “Already In,” and “I Wish I Knew”—Erlich makes his case as one of the most compelling new voices rising from Israel’s indie scene, and one poised for a global audience.
“All In All” sets the tone with a smoky blues undercurrent. The arrangement is deceptively simple: acoustic guitar, brushes on snare, a bassline that leans rather than struts. But then the lead guitar unfurls, never flashy, always speaking. Erlich croons lines like “All in all to be with you / All in all I’m dying to” with a weariness that feels lived-in. It’s the kind of song you’d hear at last call in a dim-lit bar, where the bartender nods knowingly instead of asking if you want another.
With “Jenny,” Erlich leans into a bruised balladry reminiscent of the Stones’ ballads crossed with Morrissey’s brooding melodic instincts. The lyrics ache with inevitability—“Jenny’s gone tonight she says / And what is gone is lost she cannot borrow.” His delivery avoids melodrama, instead letting resignation bleed through each syllable. The track feels like staring at a faded photograph too long, recognizing beauty and heartbreak in the same frame.
The highlight among the four might just be “Already In,” a track that manages to be both haunting and anthemic. The chorus—“Already in, I am / Already in”—loops like a mantra, at once surrender and revelation. The song builds tension without bursting, allowing the listener to sit inside its emotional gravity. It’s radio-ready in the best way: accessible without sanding down its edges.
Closing the set, “I Wish I Knew” drifts into more experimental territory. There are echoes of Pink Floydian psychedelia in its swirling textures and cryptic lyricism—“In your eyes lies a mist/ I see you walk away.” The musicianship here is staggering in its restraint, never cluttered but rich with atmosphere. The song turns inward, a meditation on the impossibility of fully knowing another, or perhaps oneself.
Taken together, these tracks showcase Erlich’s greatest strength: his ability to write music that feels both intimate and universal. He sings about personal battles, fleeting love, and existential doubt, but with a delivery that makes his struggles ours too. For a songwriter still in the early chapters of his career, this is the sound of an artist already fully formed, already carving out his corner in the international rock landscape.
If the rest of his upcoming full-length delivers with the same clarity and emotional punch, Eyal Erlich won’t be Tel Aviv’s secret for long.
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