ReeToxA Builds an Archive on Second Album “Soliloquy”

About the Artist

ReeToxA is the Melbourne-based rock project led by Jason Bill McKee, whose music pulls from 90s grit and modern pop while staying tied to a deeply personal history. He started writing as a teenager, spent years in the Navy, and later time in prison, where the loss of his mother became a turning point in how he wrote. The name ReeToxA came from his time in AA, marking a reset and a return to music.

Now, his second studio album Soliloquy, released March 23, 2026, unfolds as a 26-track double record shaped over decades, with roots going back to the late 90s. He built much of it during the isolation of the pandemic, treating it like an emotional archive. The project blends alternative and classic rock with orchestral depth, bringing in the Budapest Orchestra on select tracks and a close group of collaborators to carry its scale.

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The Album

REETOXA opens the album in all its rock glory, “Get a livin’ it’s who you are, I’m a Reetoxa,” the song sounds like something you’d hear an underground rock band shredding in their garage, amps buzzing, cables everywhere, not caring if it’s too loud. Next, AKAROA has female vocals running the harmonies here, soft but steady, and this is what the lyrics talk about, “If you still care about her…show her your song.”

After that, DANCING WITH LOU spikes up the energy again leaning into hard rock with a grunge edge, the guitar scratchy and rough. The lyrics, “My mind’s all over you, when I’m dancing with Lou,” stay stuck in that feeling of someone lingering no matter what. Then GOWN follows, and it softens everything down into something almost hazy. It feels like a sleepy wedding memory, slightly blurred, and moreover the lyrics, “The most alluring woman that I’ve ever known, the hair, perfume, all of it flows,” move like watching someone walk down the aisle in slow motion.

Afterward, ALCOHOL 2 drops into something heavier. It moves like pavements growing moss, black and green, damp and still, and meanwhile the lyrics, “I’m givin’ up my dreams for you…it’s all I do,” sound like they’re talking to alcohol, but also reaching for someone through it. Then ERICA AND THE STARS sounds like it’s patting itself on the back, trying again, and at the same time little elements scattered across the track mirror twinkling stars. The line, “I’m going to float, those voices won’t win,” holds onto that idea.

Following that, TIMOR LESTE moves into almost melodic rock, like something you’d hear once and keep thinking about, and it leans more political, talking about smoke, politics, and guns without pulling away from it. Next, SCHITZO WALTZ’s percussion slaps you in the face right from the start. This track talks about schizophrenia and being “locked up in here solo,” keeping that intensity front and center.

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Then YOU DESERVE BETTER THAN ME slows everything down. It rides something like a bittersweet sunset, warm but heavy, and at the same time it feels honest in a way that doesn’t try to hide. Soon after, GIRLS ROCK brightens everything up. It carries that summer song energy, light and easy, and the lyrics, “Girls rock, let em rock,” keeps it simple and direct.

Lastly, ALRIGHT closes the album, holding onto that feeling of being alright for the first time in a long time. The tambourine shimmers through the track like waking up one day and not feeling that weight hit you first.

Soliloquy makes sense because the whole album feels like one long internal monologue. It’s not trying to explain things to anyone else, it just speaks, jumps between thoughts, circles back, contradicts itself, and keeps going. A soliloquy isn’t neat or structured, and that’s exactly how this plays out. The shifts in sound feels like you’re hearing someone think out loud, moving through memories, mistakes, small moments, without filtering or organising them. It builds stacks, one memory over the next. And since this is only a slice of it, with 26 tracks in total, there’s a lot more of that voice scattered across the rest that’s worth going back and hearing.