ArtistDirect News
Lachlan Caskeys Solo Project Releases Satirical Single Names In Blue on Eryngii Records
Lachlan Caskey, the guitar‑savvy force behind Brisbane’s indie‑rock outfit Last Dinosaurs, has slipped a sharp, piano‑driven single into the world under his solo moniker Notes From Under Ground. Titled “Names In Blue,” the track dropped July 14 via the Japanese‑American label Eryngii Records and takes aim at the hidden hand of nepotism in the music business.
The release follows Caskey’s 2025 EP American Grace & Guilt and offers the first public taste of a new chapter for Notes From Under Ground. What began as a SoundCloud space for demos that didn’t fit the guitar‑centric sound of Last Dinosaurs, the project now serves as a “release valve for ideas that could never fit the framework of Dinos,” the guitarist explains. The single’s lyrics and accompanying video lay bare the advantage that family ties can grant, turning the industry’s glossy façade into a satirical expose.
Caskey, who splits his heritage between Japan and Australia and spent a year in Los Angeles, observed how public myth and private advantage intertwine. In an interview with Atwood Magazine, he described “Names In Blue” as a satire on the “insufferable nature of nepotism.” The title references the blue hyperlinks that appear next to the names of wealthy or influential relatives on Wikipedia, a visual cue that signals inherited advantage. The verses sketch a system where careers are assembled, percentages are assigned, and a polished image is sold as destiny.
Musically, the track is a bright piano groove layered over a steady drumbeat from Miles Morris of Bad Suns, with additional piano from Michael Seyer. Caskey himself handles vocals, guitars, synths, bass, and percussion. The arrangement, he says, is “yacht rock” and heavily influenced by Steely Dan, whose off‑kilter style he cites as an inspiration. The polished surface of the song is counterbalanced by harmonies that tilt sideways, creating a subtle unease that mirrors the critique of inherited privilege.
The music video parodies a Wikipedia entry. A mock encyclopedia page titled “Names In Blue” presents sections such as “Suspicious activity,” “Plot,” and “20 percent,” each a satirical commentary on how inherited resources can be framed as destiny. Viewers are invited to follow hyperlinks that reveal the paper trail behind polished success stories, turning the myth of effortless breakthrough into a documented construction.
Caskey’s commentary on the single underscores that class is not the sole determinant of musical quality but can shape the substance of a record. He noted, “there’s a lot of music out there that is well‑produced, but empty,” and that the goal is to combine high production values with genuine substance. Lines such as “Made of real flesh and bone / (but) songs are empty got no soul” reinforce this point.
Last Dinosaurs, formed in Brisbane in 2007, has released six studio albums, most recently Wellnxss in February 2026. Caskey’s solo work offers a stylistic departure from the band’s indie‑rock sound, allowing him to explore piano‑driven arrangements and literary themes. The release of “Names In Blue” demonstrates his continued interest in blending musical experimentation with social commentary.
The single is available on all major streaming platforms and premiered in Atwood Magazine. By using his platform to critique systemic privilege while maintaining a high level of musicianship, Caskey delivers a track that is as sharp in its message as it is polished in its execution.
The release follows Caskey’s 2025 EP American Grace & Guilt and offers the first public taste of a new chapter for Notes From Under Ground. What began as a SoundCloud space for demos that didn’t fit the guitar‑centric sound of Last Dinosaurs, the project now serves as a “release valve for ideas that could never fit the framework of Dinos,” the guitarist explains. The single’s lyrics and accompanying video lay bare the advantage that family ties can grant, turning the industry’s glossy façade into a satirical expose.
Caskey, who splits his heritage between Japan and Australia and spent a year in Los Angeles, observed how public myth and private advantage intertwine. In an interview with Atwood Magazine, he described “Names In Blue” as a satire on the “insufferable nature of nepotism.” The title references the blue hyperlinks that appear next to the names of wealthy or influential relatives on Wikipedia, a visual cue that signals inherited advantage. The verses sketch a system where careers are assembled, percentages are assigned, and a polished image is sold as destiny.
Musically, the track is a bright piano groove layered over a steady drumbeat from Miles Morris of Bad Suns, with additional piano from Michael Seyer. Caskey himself handles vocals, guitars, synths, bass, and percussion. The arrangement, he says, is “yacht rock” and heavily influenced by Steely Dan, whose off‑kilter style he cites as an inspiration. The polished surface of the song is counterbalanced by harmonies that tilt sideways, creating a subtle unease that mirrors the critique of inherited privilege.
The music video parodies a Wikipedia entry. A mock encyclopedia page titled “Names In Blue” presents sections such as “Suspicious activity,” “Plot,” and “20 percent,” each a satirical commentary on how inherited resources can be framed as destiny. Viewers are invited to follow hyperlinks that reveal the paper trail behind polished success stories, turning the myth of effortless breakthrough into a documented construction.
Caskey’s commentary on the single underscores that class is not the sole determinant of musical quality but can shape the substance of a record. He noted, “there’s a lot of music out there that is well‑produced, but empty,” and that the goal is to combine high production values with genuine substance. Lines such as “Made of real flesh and bone / (but) songs are empty got no soul” reinforce this point.
Last Dinosaurs, formed in Brisbane in 2007, has released six studio albums, most recently Wellnxss in February 2026. Caskey’s solo work offers a stylistic departure from the band’s indie‑rock sound, allowing him to explore piano‑driven arrangements and literary themes. The release of “Names In Blue” demonstrates his continued interest in blending musical experimentation with social commentary.
The single is available on all major streaming platforms and premiered in Atwood Magazine. By using his platform to critique systemic privilege while maintaining a high level of musicianship, Caskey delivers a track that is as sharp in its message as it is polished in its execution.