Traffik Island songs occupy a strange, wonderful corner of Melbourne’s psych scene, and once you fall into Zak Olsen’s world of woozy synths and lo-fi drum machines, it’s hard to climb back out. This is the solo project of the ORB frontman, released through Flightless Records, and it deserves way more ears than it gets. Below is a deep dive into the catalog’s best moments, pulled from across three records that show just how restless and inventive Olsen really is.
Ulla Dulla
Opening “Sweat Kollecta’s Peanut Butter Traffik Jam” (2020), “Ulla Dulla” sets the tone for the whole record with a bubbling synth line that feels like it’s breathing on its own. Olsen builds the arrangement almost entirely from vintage keyboard tones and a stiff, motorik drum machine pattern, which gives the track a homemade, tape-hiss charm you don’t get from over-polished studio productions. There’s a real sense of play in the mixing here, with panned percussion darting between speakers, and on headphones you catch tiny textural details that get lost on laptop speakers.
Go!
“Go!” is one of the record’s punchier cuts, driven by a chugging bassline and a melody that sounds like it’s chasing its own tail. The instrumental nature of the Sweat Kollecta album means Olsen has to communicate mood entirely through arrangement, and here he does it through rising synth stabs and a groove that keeps building tension without ever fully releasing it. It’s a great example of how psychedelic pop can be danceable and unsettling at the same time.
Bliss
Closing out “Sweat Kollecta’s Peanut Butter Traffik Jam,” “Bliss” earns its title with a warm, hazy synth wash that finally lets the tension of the record exhale. At four minutes, it’s one of the longer pieces in the Traffik Island catalog, giving Olsen room to layer melodic motifs on top of each other until the whole thing feels like it’s slowly dissolving. Fans on Bandcamp regularly single this one out as a favorite closer, and it’s easy to hear why when you let it play out on a good pair of headphones.
Charlie Is My Darling
This track takes its title from the old folk standard but shares almost nothing with it musically, instead riding a bouncy, almost toy-piano melody over a insistent rhythmic pulse. It’s one of the moments on the album where Olsen’s background in guitar pop peeks through the instrumental format, with a hook so simple and catchy it barely needs vocals to land. The production keeps things tight and low-fi, favoring character over polish, which suits the song’s playful energy perfectly.
The Mathematician
True to its title, “The Mathematician” feels precise and patterned, built on a repeating sequence that shifts by small increments each time it loops. Olsen clearly has an ear for minimalist composition here, letting subtle variations do the heavy lifting instead of dramatic key or tempo changes. It’s the kind of track that rewards close listening, especially through a solid set of earbuds where the layered percussion really separates out.
Pluck
“Pluck” does exactly what its name suggests, foregrounding a plucky, staccato synth pattern that dances around a steady rhythmic backbone. There’s a lightness to the mix here that contrasts nicely with some of the murkier, more psychedelic moments elsewhere on the record. It’s a good entry point for new listeners, since the melody is instantly memorable even without a single lyric to hang onto.
Free 2 Be Free
Moving over to 2019’s “Nature Strip,” “Free 2 Be Free” brings vocals back into the picture, and Olsen’s laid-back delivery fits the album’s sun-bleached, slightly melancholic tone perfectly. The song strikes a balance between jangly guitar pop and warped psychedelia, with a chorus melody that lingers well after the track ends. It’s one of the clearer through-lines to Olsen’s other project ORB, showing how his songwriting instincts carry across different bands.
17
“17” is a standout from “Nature Strip,” built around a reflective, mid-tempo groove that suits its wistful, coming-of-age title. Olsen’s vocal melody floats over gently phasing guitars and a rhythm section that never rushes, giving the whole track a hazy, late-afternoon feel. On a good set of headphones, the layered backing vocals reveal themselves as one of the song’s most understated strengths.
Bluish Pale
Kicking off “Nature Strip,” “Bluish Pale” is a moody, atmospheric opener that immediately signals a shift from the instrumental focus of the Sweat Kollecta record. The guitars here have a chorused, slightly submerged quality, and Olsen’s vocals sit low in the mix, almost like another instrumental texture rather than a lead element. It’s a confident way to open an album, trusting mood and atmosphere over an immediate hook.
Babylon Blues
Jumping to 2021’s “A Shrug of the Shoulders,” “Babylon Blues” finds Olsen leaning further into a warm, classic pop songwriting style while keeping the psychedelic production touches intact. The arrangement makes smart use of space, letting the rhythm section groove without crowding the melody, and the title itself hints at the lyrical themes of disillusionment that run through the record. It’s a great example of how Traffik Island’s sound had matured by this point without losing its lo-fi charm.
Jammin’ With the Band
Opening “A Shrug of the Shoulders,” “Jammin’ With the Band” feels like a statement of intent, loose and groove-driven in a way that suggests the song really was born out of studio jamming. The mix has a live-band energy to it, with interlocking guitar and keyboard lines that feel improvised even if they were carefully arranged after the fact. It sets up the record’s more collaborative, full-band feel compared to the mostly solo instrumental work on the Sweat Kollecta album.
You Do, Don’t You?
“You Do, Don’t You?” is one of the catchiest moments on “A Shrug of the Shoulders,” built on a bright, almost power-pop chord progression. Olsen’s vocal phrasing here is playful and conversational, matching the questioning tone of the title, and the production keeps the guitars jangly rather than heavily processed. It’s the kind of song that would slot comfortably onto a summer road-trip playlist.
Lights Out
According to Bandcamp listener comments, “Lights Out” is one of the most beloved tracks on “A Shrug of the Shoulders,” and it’s easy to hear why once the chorus hits. The arrangement builds gradually, adding layers of guitar and backing harmony until the song reaches a genuinely triumphant, widescreen chorus. It’s a great showcase of Olsen’s ability to write hooks that feel effortless despite the intricate production underneath them.
All the Money in the World
“All the Money in the World” takes a slightly more downbeat, reflective turn lyrically, pairing wry commentary on materialism with a melody that stays warm and inviting rather than cynical. The instrumentation leans on gentle keyboard textures and a steady, unhurried rhythm, letting the song’s message settle in rather than shouting it. It’s a good example of how Olsen uses arrangement to soften potentially heavy lyrical themes.
Papers
“Papers” moves at a slightly quicker clip than some of its neighbors on “A Shrug of the Shoulders,” driven by a springy bassline and tightly interlocked guitar parts. The production keeps everything crisp without sacrificing the record’s overall warmth, and the vocal melody has an urgency that matches the propulsive rhythm section underneath it. It’s a track that translates especially well live, judging by the energy fans describe from Traffik Island’s shows.
Sunday Sunday
The repeated title of “Sunday Sunday” mirrors its gently circular, hypnotic structure, with a melody that loops and drifts rather than building toward a dramatic peak. Olsen’s vocal harmonies stack up nicely in the chorus, adding a lush, almost choir-like texture to what is otherwise a fairly stripped-back arrangement. It’s a track built for lazy, unhurried listening, whether that’s on a walk or with a cup of coffee in hand.
The Light
“The Light” brings a brighter, more optimistic energy back into the tracklist, with shimmering keyboard textures layered under a confident vocal melody. The arrangement builds patiently, adding instrumental layers with each verse until the song feels genuinely expansive by its final chorus. It’s one of the tracks where Olsen’s pop instincts and psychedelic production sensibilities meet most successfully.
Lady Driver
“Lady Driver” has a loose, road-trip energy running through it, matching its title with a steady, rolling rhythm and guitar lines that seem to stretch out like open highway. The vocal delivery is relaxed and conversational, giving the song a lived-in, storytelling quality rather than a polished pop finish. It’s a track that rewards a good pair of earbuds for a drive, letting the interplay between guitar and keyboard textures come through clearly.
Animals Doing Human Things
The quirky title of “Animals Doing Human Things” matches its slightly off-kilter arrangement, which mixes playful melodic hooks with unexpected instrumental detours. Olsen doesn’t take the song in an entirely predictable direction, throwing in tempo and texture shifts that keep the listener guessing without ever feeling disjointed. It’s one of the more adventurous cuts on “A Shrug of the Shoulders,” showing the record’s willingness to experiment even within a relatively pop-focused framework.
New Leaf
Closing out “A Shrug of the Shoulders,” “New Leaf” ends the record on a hopeful, forward-looking note, both lyrically and musically. The arrangement gradually opens up, adding warmer instrumental textures as the song progresses, which gives it a satisfying sense of resolution after the record’s twists and turns. It’s a fitting closer for an album that spends much of its runtime exploring uncertainty, landing finally on something that feels like genuine optimism.
If you want to go deeper into artists like this, our full song and artist coverage is a great place to keep exploring. And if you’re planning to really sit with an album like this, it’s worth checking our headphone comparison guide so you’re hearing every layer Olsen buried in the mix, or our earbuds comparison guide if you’re more of an on-the-go listener.
Frequently Asked Questions
Who is behind Traffik Island?
Traffik Island is the solo project of Zak Olsen, the singer and guitarist best known as the frontman of the Melbourne band ORB. The project is released through Flightless Records and gives Olsen a space to explore a more lo-fi, psychedelic pop sound outside of his main band.
What are the main Traffik Island albums?
The core catalog includes “Nature Strip” (2019), “Sweat Kollecta’s Peanut Butter Traffik Jam” (2020), and “A Shrug of the Shoulders” (2021), each released on Flightless Records. The Sweat Kollecta record is notably instrumental, while the other two feature Olsen’s vocals throughout.
Is Traffik Island’s music mostly instrumental?
Not entirely. “Sweat Kollecta’s Peanut Butter Traffik Jam” is a fully instrumental record, but both “Nature Strip” and “A Shrug of the Shoulders” bring vocals and more traditional song structures back into the mix, blending jangly guitar pop with psychedelic production.
Where is a good starting point for new listeners?
Tracks like “Lights Out,” “17,” and “Ulla Dulla” each represent a different side of the project, so starting there gives a good sense of range across the vocal-driven and instrumental sides of the catalog. From there, working through each album front to back gives the fullest picture of how the project has evolved.
What genre best describes Traffik Island?
The project sits comfortably within psychedelic pop, with strong touches of lo-fi indie rock and instrumental electronic experimentation depending on the record. It shares DNA with the broader Melbourne psych scene that also produced bands like ORB and King Gizzard & The Lizard Wizard.