Richard Green, split between Milan and London, builds electronic and experimental tracks with one rule at the centre: melody first, always. “Ending up in the wrong way” (released June 28, 2024) might be a couple of years old now, but it doesn’t feel dusty—more like a time capsule that still hits when you open it. It’s also part of his EP ILLUSIONS, and you can hear why he’s proud of it: it’s sweet, nostalgic, and unapologetically sad, the way real endings tend to be.
The track kicks off with thumping beats that land solid and steady, while sharp, sizzling cymbals splash on every hit like sparks off a wheel. There’s warmth in the horns too, giving the groove a realistic glow instead of that cold, clinical club sheen. Behind it all, a light, glinting shimmer floats in the background, almost like sunlight through a window you can’t quite look at directly. It sets the mood perfectly for what the song is really about: that brutal moment when love stops feeling like “forever” and starts feeling like “well… that’s life.”
Green’s lead melody is the hook and the heart. It’s easy to listen to, sure, but it’s also expressive in a way that feels handwritten, like he’s telling the story without needing lyrics. And then he brings in the secret weapon: live players. The first part leans into a sax section recorded with real care, giving the track a soulful edge that cuts through the electronic frame. The sax speaks, like the voice in your head replaying the good parts while you’re trying to accept the ending.
As the song moves into its second half, the violin takes over and the emotional colour shifts. The strings feel like the “after” part of a breakup. It’s quieter, heavier, more reflective, when the adrenaline fades, and you’re left sitting with the memories. It’s a smart structure—sax as the immediate ache, violin as the lingering bruise.
Recorded between the UK and Italy (with final work done near Milan at Studio Elfo), “Ending up in the wrong way” reminds us that electronic music can be tender as it chases feeling—and that’s why it sticks.
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Review by: Naomi Joan