Kurt Bray has been working on this album since 2021 which means it’s been in the works for half of the decade and instead of sounding overcooked, it ends up feeling like a scrapbook of where he’s been musically: rock, grunge, indie, alternative. If that sounds like a suspiciously vague cluster of genres, don’t worry as that’s basically the point. This is a “guy with a guitar and a lot of feelings” record, filtered through a very 90s-inspired lens, where sincerity is the main currency and polish is more of a secondary concern.
The title track, “Only Time Will Tell,” sits at the center of the whole thing, both literally and thematically. It’s about destiny, hope, romance. You know, all the big, slightly terrifying concepts that people tend to write songs about when they’re staring at the ceiling at 2am. The hook leans into that idea of waiting for life to reveal itself, which is either comforting or existentially horrifying depending on your mood. Bray clearly intends the former, and to his credit, he mostly pulls it off. It’s earnest without tipping too far into melodrama, which is harder than it sounds.
If you’re the kind of person who enjoys 90s alt-rock; think big guitars, emotional vocals and lyrics that sound like they were written in a notebook during a particularly intense bus ride, you’ll find a lot to like here. Tracks like “Give Me Reason” lean into that heavier, slightly grungier edge, while “Idea of Paradise” softens things with a more reflective, almost nostalgic tone.
One of the more interesting tracks is “Chernobyl World,” which was Bray’s first release back in 2024. It’s got that slightly ominous title that suggests something political or apocalyptic, but it ends up functioning more like a mood piece; less about literal nuclear disaster and more about emotional fallout.
Then you’ve got “The Next Room,” which apparently got compared to the Red Hot Chili Peppers during a Twitch critique session, which is both a compliment and an extremely specific vibe to live up to. The comparison isn’t completely off-base as there’s a looseness to it, a kind of rhythmic confidence, but Bray’s voice keeps it grounded in his own style rather than drifting into imitation.
“Angel of the Night” and “Babey-Doll” (yes, spelled like that) bring in a slightly more romantic, almost theatrical energy. These are the tracks where the album leans hardest into its emotional core, for better or worse. If you’re on board with Bray’s sincerity, they’ll land. If you’re not, they might feel a bit on-the-nose. But again, this is very much a “heart on sleeve” record, so subtlety isn’t really the goal.
It’s also worth mentioning that Bray’s journey to this release isn’t just studio-based. He’s been out there playing gigs across the UK, doing charity events, getting radio play on BBC Introducing, even popping up on a Twitch music review show where judges praised his vocal range. That live experience shows up in the music; it doesn’t feel overly processed or detached. You can imagine these songs being played in a small venue, slightly too loud, with someone in the crowd really, really feeling it.
And that’s probably the album’s biggest strength. It’s not trying to reinvent rock music. It’s not trying to be ironic or hyper-conceptual. It’s just trying to connect. Bray clearly wants listeners to see themselves in these songs; to project their own experiences, their own “waiting for something to happen” moments onto the music. And while that approach can sometimes feel a bit broad, it also makes the album accessible in a way that more abstract records aren’t.
Only Time Will Tell ends up being less about answering big questions and more about sitting with them. It’s an album for people in transition, for people who are waiting, hoping, maybe a little unsure of what comes next. Which, to be fair, is most of us.
And if nothing else, Bray makes a convincing case that sometimes the most honest answer really is the simplest one: you’ll find out eventually.
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About the Author
A tenured media critic known working as a ghost writer, freelance critic for various publications around the world, the former lead writer of review blogspace Atop The Treehouse and content creator for Manila Bulletin.
