Creativity Nativity Scene, the project of Australian composer Adam Lloyd Davis, is not your typical musical act. What sets Davis apart is not just his deep-rooted inspiration from legendary film composer Ennio Morricone but also his unconventional approach—creating music entirely through apps on his phone. His latest EP, Sometimes We Arrive At The Shortfall, released on March 8, 2024, is a testament to his perseverance and creativity, bringing a lighter tone to his signature Western-inspired sound.
The EP, recorded at Davis’s home in Perth, Australia, stands as both a continuation of his journey and a departure from his past work. While his previous releases, including Mobile Homes & Remote Villages, leaned toward darker and more serious themes, this project embraces a sense of optimism. Featuring standout tracks like The Prophet and Ride Till Nightfall, Sometimes We Arrive At The Shortfall offers a cinematic experience that transports listeners straight into the heart of the Wild West.
Davis’s deep admiration for Morricone is evident in the EP’s composition. The sweeping soundscapes, twangy guitars, and atmospheric arrangements feel like the perfect backdrop for a lone rider traversing the open desert. Yet, despite its clear Western influences, the EP carries a distinctly modern touch due to its digital production.
The standout track, The Prophet, embodies this fusion of old and new. Its melodies evoke the wide, open landscapes of classic Western films, while the layers of sound—created entirely through mobile apps—give it a unique, contemporary edge. Similarly, Ride Till Nightfall has a rhythmic, almost meditative quality, bringing to mind the feeling of galloping across endless plains under a setting sun.
What makes Sometimes We Arrive At The Shortfall even more compelling is its backstory. Davis first turned to music while bedridden from an unknown illness in 2013, using only his iPhone to compose. This limitation became a defining aspect of Creativity Nativity Scene, proving that creativity thrives even under the most challenging circumstances. Each track in this EP, while seemingly simple in its instrumentation, is layered with meaning and emotion, reflecting Davis’s personal journey through illness and recovery.
While previous releases from Creativity Nativity Scene carried a weightier, more solemn tone, this EP brings a sense of lightness. Davis himself acknowledges this shift, stating that the songs feel happier compared to his earlier work. That feeling is most apparent in A Son is Born, a track that radiates warmth and renewal. It contrasts beautifully with the darker themes of his past albums, offering a glimpse of hope amidst the cinematic dust storms of his music.
Despite being recorded in a home studio using only a phone, the EP does not feel limited in scope. Instead, it showcases Davis’s ability to craft immersive soundscapes that transport listeners to another time and place. The production, while digital, never feels artificial—it retains the rawness and emotional depth of classic Western compositions while embracing modern technology.
Sometimes We Arrive At The Shortfall is a remarkable achievement, not just for its technical ingenuity but for the sheer emotion it carries. Adam Lloyd Davis has once again proven that music isn’t about expensive studios or elaborate setups—it’s about vision, passion, and storytelling.
For fans of Ennio Morricone, instrumental Western scores, or experimental production techniques, this EP is a must-listen. It stands as both a love letter to the Wild West and an inspiring example of how creativity can thrive in even the most unexpected circumstances.
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