For Quiet As A Mouse, the project of singer-songwriter Alex Moran, music has always been rooted in honesty. Drawing from a life spent moving between cities, countries and cultures, Moran channels personal experience into songs that feel intimate, raw and deeply human, while still carrying the energy and swagger of alternative rock’s golden years.

Born in London, Moran’s teenage and adult years saw him relocate frequently, living in places including Leamington Spa, Stanthorpe, Warwick, Hobart, Adelaide and Edinburgh — where he spent 13 years — before eventually settling in Brisbane in 2019. Those shifting landscapes and experiences quietly inform the DNA of Quiet As A Mouse, a project that moves comfortably between indie rock, grunge, punk, emo and alt-country influences.

On ‘Nostalgia is fine…but…’, Moran leans further into vulnerability and lyrical openness than ever before. While previous releases showcased his knack for hook-driven alternative songwriting, the new record reveals a more reflective and romantic side, balancing heartfelt intimacy with the loose, electric energy that defines the project.

Lead single ‘Miss Melody’, released alongside B-side ‘French Bullet Blues’ on February 27, offered the first glimpse into the album’s world. Accompanying the release was a visually striking music video assembled from footage Moran captured during a trip through Hong Kong and Beijing in April 2025, adding another personal layer to the project’s storytelling.

A second visual release arrives with album track ‘Peter Pan’, accompanied by a cinematic video filmed at sunset on Queensland’s Peregian Beach on the Sunshine Coast. Bathed in warm coastal light and reflective atmosphere, the clip mirrors the emotional core of the album itself — nostalgic, heartfelt and quietly searching.

On Nostalgia is fine…but…, Quiet As A Mouse dive headfirst into the warm haze of ‘90s alt and indie rock — all chiming guitars, earnest lyricism and perfectly imperfect edges. Blending the fuzzed-out slacker charm of college radio with subtle alt-country undertones and intimate, coffee-shop melancholy, the album wears its influences proudly without ever feeling trapped by them. 

There are echoes of the gentler side of Weezer in tracks like ‘Paracetamol’ and the closing ‘White Picket Fence’, while shades of Travis, Manic Street Preachers and even the grunge-tinged Americana of Cracker surface throughout cuts such as ‘Cocaine Soul’ and ‘The Man I Am’. Yet despite the familiar touchstones, Quiet As A Mouse manage to shape these inspirations into something deeply personal and emotionally immediate. 

What gives Nostalgia is fine…but… its weight is its refusal to polish away the humanity. QAAM lean into rawness and vulnerability, favouring an electric, live-room energy over sterile overproduction. The result feels organic and lived-in — the kind of record that values emotional honesty over perfection. 

The album’s title may hint at irony, but Quiet As A Mouse never sound burdened by the past. Instead, they understand exactly what made those eras resonate in the first place: sincerity, melody and imperfection. Nostalgia is fine…but…doesn’t merely revisit those sounds — it finds strength in them, embracing its nostalgic heart with complete confidence.

Quiet As A Mouse have previously supported Hinds, The Orwells, Palma Violets, The Big Moon & The Orielles in the UK. As well as worked with both Grammy Award winning producer Liam Watson (The White Stripes ‘Elephant’) and Marcus Mackay who produced Frightened Rabbit & Snow Patrol's early work. They have gained a lot of positive UK press coverage and radio airplay and the recording of their debut album 'Is It Funny When It Hurts?' was funded and supported by the Scottish Government.

‘Nostalgia is fine…but…’ is out now via all streaming platforms.