Derek Smith and the Cosmic Vultures embark inward with ‘Temporary Circus: Act 2’
Boston singer-songwriter explores the human condition with a spiritual psychedelic folk-rock EP out now
NOW PLAYING: Listen to ‘Temporary Circus: Act 2’ on Spotify
New EP follows spring’s ‘Temporary Circus: Act 1’ and last fall’s ‘Opus’ album
Listen to Derek Smith on Spotify
BOSTON, Mass. [September 12, 2025] – There’s always a debate about the greatest sequels in history, usually relating to cinema, and the best answers are always met with a quick retort that the film proposed is not actually a sequel, but part of a trilogy. Allowing for a storyline resolution to happen later on, further down an undefined timeline, usually means the creative force behind the project – be it a movie, a novel, or even an EP – can detour and segue as necessary. And make some important stops along the way.
Derek Smith is well-versed in this type of storytelling as it pertains to his music. The prolific Boston singer-songwriter, vocalist, and guitarist has released nearly 80 songs over the past eight years, and delivers new psychedelic folk-rock EP Temporary Circus: Act 2 on Friday, September 12.
The follow-up to the spring’s Temporary Circus: Act 1, and last autumn's majestic album Opus, the EP finds Derek Smith and the Cosmic Vultures looking inward, taking the themes of the prior release, digesting the chaos contained within, and allowing for the type of personal reflection needed for the ability to move forward.
Temporary Circus: Act 2 is the sound of an indie artist comfortable in his own creative skin, operating on his own timeline and trajectory, and taking the listener along for the ride to position each composition against their own life experiences.
Led by empyrean single and spotlight track “Mother Coven,” featuring the backing-vocal debut of his wife, Gia, this new EP continues to stir Smith’s creative cauldron, where melodic traces of alternative, pop-rock, ‘60s indie, post-glam, Yacht Rock, and AM ‘70s gold swirl upward to the heavens like a ghost trace of smoke emerging from the fire that burns within us all.
“The ‘Temporary Circus’ idea has always felt bigger than just a single concept,” Smith admits. “Everything in life can be temporary, whether it’s good or bad. The first act really dealt with mass manipulation and being controlled by people or thought. This second act begins to deal with finding yourself, but in a weird, almost psychological journey. This is just the next part of the world in one’s head and people can interpret these songs in any way they please. Nothing is incorrect here and there are no rules.”
Smith has been taking advantage of the no-rules era of the music industry in recent years. His ardor as a songwriter forever fueled by what comes next, Smith’s ability to craft gentle tunes with an emotional heaviness has come to the forefront of the Temporary Circus era, where the grandeur of Opus remains intact despite a stripping down of the sound and reduction in the noise around the margins.
As Smith scanned our cultural dystopia in Act 1, crafting a record of caution and distrust, lamenting the social shift in how we operate day-to-day under a growing authoritarian threat, with carnival-like interludes and faux news reports acting as segues, similar to how we doom scroll from one app to the next to feed our serotonin needs, Act 2 takes on a different mentality. It’s not unlike receiving the bad news on the worst day of your life; when you awake the next day, inward reflection is the first step towards rehabilitation.
“I think lyrically, this is the next section of thoughts,” Smith reveals. “I think no matter what you are writing about, it needs to feel real. With Act 2, I am doing a lot of self-discovery. But ultimately, I like to consider myself a storyteller. I think it’s funny how a lot of people think songwriters are completely autobiographical. We aren’t always -- sometimes you want to craft something that makes sense. And I did a lot of crafting on Act 2… a lot of cooking, if you will. What sounds good together or what will make a great sounding tune or lyric.”
That shines through on “Mother Coven,” taking Smith’s stargazing storytelling and positioning an abstract reflection on growing older, all while carrying the weight of secrets, complicated thoughts, and a world that feels increasingly inverted.
“‘Mother Coven’ is a combination of authority entanglement, emotional danger, transformation and surreal disorientation,” he adds. “It’s funny how sometimes you feel like you’re in control of your life and then the next moment it feels like your heart is being cooked in an oven. Sometimes I feel my brain was ripped out and splattered into a poem by Gertrude Stein. The whole song feels like a mishmash of surreal thoughts and falling apart at the seams. It feels good to be at an age where you feel like you can do whatever you want, but then things become cold and turn to stone.”
In addition to Gia Smith’s backing vocal contribution on “Mother Coven,” she also contributes her seraphic voice to “Drowning Clocks,” a cautionary tale wrapped in bittersweet melody that finds the Smiths patiently surrendering to life’s stodgy pace rather than forcing their own momentum from one day to the next. It’s a ‘60s-kissed pop-rock lullaby that would not have been out of place on a soundtrack for a post-apocalyptic ‘90s-era romance film.
“‘Drowning Clocks’ reminds me that time may not be ticking anymore, it may be sinking or suffocating,” Smith notes. “I think I am wary of chasing goals or dreams. Letting go of the chase almost feels intoxicating for me. I am happy with my little life. The constant push for achievements has proven to be something of the past for me and I have been more drawn to the simplicity of a shared connection.”
Perhaps not coincidentally then, “Drowning Clocks” also boasts some defining guitarwork from Smith’s longtime co-conspirator and integral Cosmic Vulture Michael Strakus, who the songwriter describes as “an incredible guitarist and person,” adding: “We have been musical collaborators for over four years now and he makes things so easy for me. This is the type of guy who spends countless hours studying and working on a particular song. He’s a very special type of musician and someone who I will always appreciate.”
Elsewhere, each track on Temporary Circus: Act 2 plays out like chapters in a novel, and unlike scenes from a film, they are deliberately meant to be enjoyed in any consecutive order.
Opener “Paper Ghosts” is an acoustic-led number that swells with a gloating melody that belies a theme of altered reality where escapism and dreaming come to the forefront, soundtracking a love for autumn and all the season brings. “It is such a beautiful, but dying season which ties in themes of change, loss and nostalgia,” Smith notes. “The title and themes suggest the fragile, delicate remnants of the past – memories that can’t be touched without tearing. They’re light, almost insubstantial, but still haunting. It’s as if the people we once were are still here, drifting around us, but no longer solid.”
Dipping almost into decadent ‘70s-era glam rock, “Opium Revolver” leans into a dangerous world of pleasure and poison co-existing, finding Smith weaving a theme of opiate haze with urban rot while painting a picture of being both seduced and haunted by someone. “To me this song has always felt like the idea of choosing the beautiful poison even when you know it’s killing you -- because the thought of living without it is even more terrifying,” he reveals.
Elsewhere, “Native American,” which also glows with Strakus’ inspired guitar, provides a heavy-set thump to the EP’s musical tone, providing a low-end drama to Smith’s attempts to connect spiritually with nature, all while admiring resilience in the face of oppression.
And EP closer “Where the Ladders Led,” described as “a poetic descent into addiction, identity loss, and life on society’s margins,” provides perhaps the most poignant and defining lyric of the entire record, where Smith offers up “I was a king in a kingdom that never was.” It is a haunting reminder of one’s place in the world.
Though Smith is the creative core at the heart of these releases, his Cosmic Vultures network runs deep. Former member of Jonathan Chesbro, who has gone on to release a spectrum of genre-spanning solo material, is credited with orchestration, drum production, and pre-mixing on two of the EP’s tracks. “He does so much behind the scenes,” Smith says, “and just because we end up not using something on a song, doesn’t detract from how long he sits with me and how much time we spend figuring out a song’s production; it’s a great and very helpful relationship.”
Erik von Geldern’s engineering at Berlin Audio Productions in Berlin, Massachusetts helped bring these songs to the current form, while also providing bass on select tracks. Additional engineering and mixing was done by Don Schweihofer (who also contributed drums on three songs) and Todd Harris, and combined two other familiar players in the Cosmic Vultures cast – bassist Steve Constantino and pianist Justin Lopes -- Smith’s vision has taken a village to help crystallize. And it allows the seeds of his songs to fully bloom, especially at a time he needs it most.
“Writing is the only thing that makes sense to me anymore,” he says. “It gets me through the hardest of times. It almost makes it easier that things are crazy because it gives me something to focus on. Sometimes the news is so messed up, I need to grab my guitar or sit at my piano to shake the uneasy feeling.”
With Temporary Circus: Act 2, that feeling of unease is translated into song. It’s how Derek Smith deals with the world, it’s how he communicates, and it’s how he allows himself to move on to seek tomorrow. Despite what the world may throw his way.
“I think the overall project allows me to express all the weird themes I haven’t really touched on before on previous releases,” he concludes. “It allows me to be whacky if I want. Not that I am putting restraints on myself, but I feel a bit freer with this project. I am strongly considering a Temporary Circus: Act 3 to finish off the concept. Behold, my little trilogy of EPs.”
And that’s enough to end the sequel debate right here and now.
‘Temporary Circus: Act 2’ EP artwork:
Painting by Valerie Parente; design by Derek Smith
‘Temporary Circus: Act 2’ credits:
Music, lyrics, and creative vision by Derek Smith
Derek Smith: Lead vocals, backing vocals and rhythm guitar
Michael Strakus: Lead and rhythm guitar on tracks 1 to 5
Steve Constantino: Bass on tracks 3 and 5
Justin Lopes: Piano on tracks 1 to 5 and organ on track 5
Don Schweihofer: Drums on tracks 2, 3 and 5
Erik von Geldern: Bass on tracks 1, 2 and 6
Gia Smith - Backing vocals on tracks 2 and 5
Jonathan Chesbro: Orchestration, drum production, and pre-mixing on tracks 4 and 6
Mixed and Mastered at Berlin Audio Productions
Engineering and mixing by Erik von Geldern, Don Schweihofer, and Todd Harris
Artwork painting by Valerie Parente
Derek Smith and the Cosmic Vultures short bio:
Based out of Boston and born out of the North Shore of Massachusetts, Derek Smith and the Cosmic Vultures epitomize a nuanced blend of alternative, psychedelic, funk and indie rock vibes, encapsulated within an introspective musical narrative.
The band is composed of frontman and rhythm guitarist Derek Smith, bassist Steve Constantino, rhythm and lead guitarist Michael Strakus, and drummer Dalton DeLima.
Smith’s songwriting process stems from an immersion into particular moods, channeling these emotions into evocative musical pieces. He eschews conventional song structures, opting instead to tell intricate stories through song fragments, ultimately creating a cohesive tapestry that fills the gaps of his intricate mental landscape.
With two back to back nominations at the New England Music Awards for “Artist of the Year” and “Rock Act of the Year” in 2022 and 2023 respectfully, Derek Smith and the Cosmic Vultures remain a mainstay in the New England music scene with their dynamic and eclectic music and energetic live shows.
In late 2023, Derek Smith merged his acclaimed solo efforts (two self-released albums and recent single “Black Angel”) with the band’s extensive catalog, marking a new era for both entities. A new single, titled “Waiting” and produced by Dave Minehan at Waltham’s Wooly Mammoth Sound, arrived in January, with singles like “White Spade Symphony” and “Tomorrow Morning” highlighting 2024. A new Derek Smith and the Cosmic Vultures album, Opus, led by September single “Songbird”, arrived in November, followed by new EP Temporary Circus: Act 1 in Spring 2025 and its Act 2 follow-up in September. Come along for the ride.
Media praise for Derek Smith and the Cosmic Vultures:
“Musically, the sound [on Temporary Circus: Act 1] draws from a broad palette from the seventies pop rock of 10cc to the more modern indie rock of Bon Iver. Everything here is an absolute joy to lose yourself in. The kaleidoscopic mix entrances and hypnotises in equal measure, with the title track and ‘The Puppets Of Hypocrisy’ being particular favourites. An EP that comes highly recommended with the promise of more to come.” – Americana UK
“The prolific Boston songwriter Derek Smith has made a string of impressive indie-folk and psych recordings both under his name and with his band the Cosmic Vultures. Now the two entities have combined into one. ‘Tomorrow Morning,’ the lead-off track from their upcoming album Opus is an undeniably catchy glam-pop combustion that would have ruled the radio if it had been released 50 years ago. Listen at your own risk, because this song will stay stuck in your head all week.” – WBUR, Boston’s NPR
“Temporary Circus: Act 1 offers the better kind of pop music. The kind that offers songs you will want to listen to. The songs are delicate and serious. With a layer of guitars, keyboards and a fairly modest rhythm section. …‘Some Girls’ has this beautiful piano part that brings to mind Bruce Hornsby’s piano playing in ‘The Way It Is’. The combined songwriting skills of Temporary Circus: Act 1 makes for very pleasant listening.” – WoNoBlog
“The five songs contained here have a central acoustic-based focus that draws on a number of key influences – everything from jazz-pop and folk to world beat and psych elements…. For music fans who like their rock and pop with a tad more sophistication and depth, Derek Smith and The Cosmic Vultures are sure to satisfy and resonate with you for some time to come.” – Geoff Wilbur’s Music Blog
“Stirringly soulful. Sparklingly pop melodic. Americana-like emotive. If you mix those three elements, and you add heart-whole vocals, you get this titillating tune that’ll play around in your head all day long.” – Turn Up The Volume
“Derek Smith and the Cosmic Vultures are an absolute mainstay of the fantastic New England music scene.” – Podduck
“Derek Smith and the Cosmic Vultures awaken rock with ‘White Spade Symphony’.” – Pure M Zine
“Derek Smith and the Cosmic Vultures clearly operate on a different wavelength than the rest of us… and for that we are eternally grateful.” – The Whole Kameese
“‘White Spade Symphony’ is an absolute epic. It combines alt-rock with psychedelia and Americana in a huge sounding song just waiting to be played at the biggest stages around. …around the halfway mark the song just takes off with a blistering guitar solo that elevates the song to epic territory. This is the level of artists like Band of Horses or Kings of Leon’s first two albums.” – If It’s Too Loud
“Step back in time with Derek Smith… If someone had told me [‘Tomorrow Morning’] was a long lost single from the 1970s I would have believed it. There’s some ‘Goat Head Soup’ style, so Mick Taylor influenced, song, some Fleetwood Mac, some Jefferson Starship, as in Craig Chaquico styled, smooth guitar playing and the vocal style of a host of singers from the era who were not afraid of showing off their vocal range. …With a sound like this you do not want to play in the local pub or community centre. Derek Smith and the Cosmic Vultures seem ready to go way beyond.” – WoNoBlog
“‘White Spade Symphony’ from Derek Smith and the Cosmic Vultures is the best brand-new ’70s-style psychedelic classic rock song you’ll have heard in quite some time. …[It’s] memorable and so well-done that it will soon become a favorite if you’re a fan of guitar-based classic rock in general, not just the ’70s psychedelic subcategory.” – Geoff Wilbur’s Music Blog
“Derek Smith has a style that is a chilled out mix of soul and R&B but still feels like it falls under the indie umbrella. It feels simple and classic as everything for the most part happens over just two chords with slick 70's jazzy guitar licks. It's really refreshing to hear artists that understand what ‘Less is More’ means and how to implement that into their overall sound. There is no bridge, not really a chorus, the only key change is at the end under the guitar solo but this song works as something I could definitely listen to over and over again.” – Blood Makes Noise
“Alternative and Grunge come to mind immediately when listening through ‘Waiting’ with airs of Jerry Cantrell’s solo work rather than Alice in Chains as a lush and still catchy ass chorus at its’ gooey, creamy center is surrounded by some truly meaty melodies for an entree that embodies sonic succulence. Wailing guitars from Jonathan Chesbro, Michael Strakus, and Smith come out of the ‘Waiting’ gate swinging offering complex textures amongst its’ sanguine sounds with Smith’s powerful vocal performance seemingly effortlessly poking through the punchy layers as Steve Constantino’s bass and Dalton DeLima’s drumming rhythmically rumble in contrast.” – Rock And Roll Fables
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