Uncanny Valet soothes our souls with the sounds of 'Almost Island'
Music to sail away to... with a deluxe on the horizon
Uncanny Valet is the electronic music project of New York based artist, David Queen, whose ethereal songs are deeply complex and layered with unexpected sounds. Truly a treat for the ears and brain. Earlier this year, he released Almost Island, a luxurious collection of music that feels like intellectual escapism from the dystopian issues and stressors exceedingly prevalent in our modern society. Spring 2025 seemed the perfect time for this album to drop into our lives – released on March 14 (West Records). The delightful piano ditties in one of the previously released singles, “Cameo Glass” fill me with hope in a way I’m not quite sure I can explain.
Music is so magical like that.
I met David through many mutual friends in Brooklyn over a decade ago, when we were in our twenties, Glasslands was open, and Williamsburg was… well, cool. He tended to be on the quiet side though we’ve had some really fascinating and meaningful conversations. I’ve long admired his writing and independent publishing company, Word West and didn’t realize he’s also incredibly gifted musically until last year. He’s pretty humble about it. A quiet announcement on instagram with gorgeous, captivating music really caught my attention. Word West expanded into the music world with imprint West Records, which released Uncanny Valet’s debut album, Silo. (Another experimental, ambient masterpiece to get lost in.)
David and I connected the week of Almost Island’s release and talked about how the project came to be. The creativity and meaning he channeled into this album is palpable and it’s likely because he was just exploring and creating for himself as an outlet. Since he was just making art for himself, he felt like he could take bigger risks creating and do whatever he wanted – “see where the songs take me.”
He picked up the keyboard during the pandemic when he found himself with more time on his hands after several years focusing on writing.
“Something clicked in my brain – I remembered why I loved this so much. It felt really right and natural… almost like an extension of my brain that had been there the whole time but I was able to express it in a way. It felt very familiar and I didn’t feel like I had been away from music at all,” he shared.
As he ventured into playing more music, he learned about how he works creatively and adapted his work ethic and processes from his writing work to making music. He didn’t necessarily intend to write or release anything; it was a creative outlet for burnout. “The songs feel very unique to me in a way. It’s very personal – like I’ve written things that are personal but it feels very revealing – whereas this feels personal and revealing but in a totally different way.” So they’re essentially like sonic journal entries. That way of expression is inspiring, as a fellow creative soul with plenty of reservations about perception. He described his process as organic and says the songs come together slowly, sometimes sparked from found sounds collected over time.
The name Uncanny Valet comes from his interest in the concept of the ‘uncanny valley,’ a term I wasn’t familiar with.
David explained the uncanny valley meaning further:
“It’s a psychological phenomenon. People often refer to it like – you’ll see a robot that looks like it’s human and you think it’s human… but it’s a little off. That gives you a sense you’re in an uncanny space. You’re not sure what’s real and what’s not. It’s almost like a liminal space.”
And he just thought “valet” would be funny. As for naming Almost Island: “It’s kind of a similar thing; I loved how indefinite it was. It’s almost a place; it reminds you of some place. It could be defined as a place that you might know but you also don’t at the same time.” The actual name comes from the Google Maps description of a place near Buffalo, New York; though he couldn’t recall the exact name of it; a French term for “almost island.” (He later clarified the term is Presque-isle, which translates to “almost island.”) He said it felt like an ‘aha moment.’
As a very active Google Maps user, I did a little digging around Buffalo to see if I could spot any ‘almost islands,’ but I couldn’t determine the specific piece of land he described. That seems perfectly fitting. I tuned into Almost Island amidst the cacophony of noise on a Metro North train from the quiet, charming town of Beacon in the Hudson Valley down to chaotic Grand Central Terminal in New York City. I shared that experience with David when we chatted and he said he’s done the drive between the Hudson Valley and the city many times listening to these songs.
A standout track to me is called “Ripripple,” a stunning dreamscape that flowed freely through cushy headphones into my ears. It brought me back to the Myspace era, reminiscent of the nostalgic, synthy sounds of the group Love Like Deloreans. While listening on the train, I shielded my eyes from the blaring late afternoon sun as I typed away on my laptop. The album provided the perfect soundtrack for my procrastination-turned-productivity; it’s such a gift when music brings me into a zone of concentration. Listening to Tycho or binaural beats has been a go-to ritual when I need to really get some graphic design work done or focus on writing.
The soft chimes in the beginning of the fourth song on Almost Island, “Oft,” are reminiscent of the relaxing sound bath experiences I’ve been seeking out lately to decompress from busy days. The track progresses into an upbeat and satisfying symphony of sounds – fantastic focus fuel for my overactive, ruminating brain. The ending of “Oft” leaves me longing for more, like the feeling of the last day of vacation. Thankfully it’s only a third of the way through the Almost Island experience with plenty more adventures to be discovered.
“Mirror Index” is a stunning section of Almost Island and feels both nostalgic and futuristic. It’s really touching, an emotional landscape that’s exciting, mellow and dreamy, intensifying and then ending with ethereal energy. The beginning of the track “Nonlin” sounds like I’ve dropped into a vintage video game. It significantly builds intensity halfway through, reminiscent of Flying Lotus, then returns to a mellow state with mysterious laugh tracks. “Archway” plucks me right up into the sky, floating through an expansive dreamland – a 2 minute and 21 second lullaby I could drift off to sleep to.
“Sans” and “Tati” danced me awake as my train approached Manhattan. The 8 minute 40 second title track that closes out the album just might be my favorite of them all. This lush, peaceful and atmospheric composition feels incredibly hopeful and cinematic. It brought to mind my experience lying on a bean bag at sunset in Idyllwild, California listening to an immersive ambient performance by guitarist, composer and producer Christopher Willits at a small festival. I’d been navigating some health challenges and found peace and healing from his calming, atmospheric sounds. Uncanny Valet’s soundscapes also have that quality and potential to provide healing, inspiration, reflection and emotional release to those who listen. I asked David if he’s familiar with sound healing, and if he intended to create music to bring relief to anxiety, pain, stress.
“It wasn’t conscious but I feel like music in general has always had a therapeutic impression on me. It’s what I go to if I’m not feeling well. I’ll just put on music that I like and it really affects me. Playing music and making art in general is the place I feel most at home.”
Such a beautiful feeling and creative outlet.
If you find yourself seeking solace and a calm escape, do sail away to Almost Island, and keep your ears peeled for the deluxe edition coming soon as we close out this tumultuous year. Don’t sleep on the singles he’s quietly been releasing via Spotify, especially my new favorite – the melancholy “Landing.”
