The fast-rising Londoner, likened to Arthur Russell and cult folk innovator John Martyn, has been turning heads with his blend of literary-inspired, magical-realist lyrics, whisper-soft melodies and echoes, beats and murmurs courtesy of close collaborator Bullion.

Westerman has a simple, elegant approach to the wispy, wide-eyed experimental pop he creates. “I see melodies and lyrics as the central sketch of a painting and the production around it kinda like a palette, the colours you surround and fill it with,” 27-year-old Will Westerman explains, a formula part-inspired by the former hits his mum would play him on early-morning car journeys to school.

Westerman released his hugely anticipated debut album, Your Hero Is Not Dead via PIAS/Partisan Records on June 5th 2020.

Your Hero Is Not Dead​ ​is the follow-up to Westerman’s critically-acclaimed ​Ark​ EP​. Recorded alongside his close friend and producer ​Nathan Jenkins (A.K.A. Bullion)​ at first in Southern Portugal before finishing the process in London, ​Your Hero Is Not Dead​ is an album about empathy and compassion, struggle and release, and all the ways we contradict and battle within ourselves. The project is full of supremely crafted, groove-hinged songs about moral, political, and ethical grey areas, that find Westerman attempting to resolve external issues by looking inward.

“I was trying to make something hopeful,” says Westerman, although he isn’t able to create music that’s too buoyant as it “seems escapist and trite – and that’s not how life is”. Like many, he has felt the world going in “the wrong direction; from the Brexit vote and American politics to the environment, there’s a multitude of things to overcome.” And that’s before we’ve even got to the C-word. “As a young person starting out in the world,” he adds, “the view isn’t great.”

‘Your Hero Is Not Dead’ is an entrancing exploration of the psyche that considers the fallibility of being human. Amid its waterlogged guitars and metronomic drum machine beats lie gleaming acoustics and chirping synths. Vocally, comparisons to lofty folk experimentalists Arthur Russell and John Martyn are justified.” – NME ****

Praise for Westerman:

“a promising writer who’s learned how to take good ideas and warp them into stranger, more sublime shapes” – Pitchfork Best New Track for “Confirmation”

“Westerman basically appeared out of nowhere with the equally euphoric and melancholic genius of ‘Confirmation'” – Stereogum