Actor-turned-indie-sorcerer Winter Andrews released his newest single, “Babel,” a devastating and unflinching portrait of betrayal and collapse, taken from his highly anticipated debut EP, ’til the moon fades away, arriving November 21.
A shape-shifting performer known for bringing raw vulnerability to roles in Law & Order: SVU, Criminal Minds: Evolution, and Hulu’s upcoming Murdaugh Murders, Andrews now brings that same emotional depth and cinematic storytelling to his music. With ’til the moon fades away, he unveils a new facet of his artistry as one of indie music’s most haunted and compelling new voices.
“Babel” is perhaps Andrews’ most spiritually and emotionally chaotic track yet — a fever dream of infidelity, pride, and regret, underscored by a towering and soul-twisting string arrangement from Grammy-winning composer, Rob Moose (Phoebe Bridgers, Bon Iver, Taylor Swift). The song takes its name from the biblical tower doomed by human ambition, and builds just like one: upward, fragile, trembling. By the time it collapses, we’re already falling with it.
“It’s about self-loathing. Real, almost unbearable self-hatred,” Andrews says. “The kind of shame that turns your own love into a weapon — and leaves you wondering why you destroy the things you want most to keep.” Laced with confessional lines like “Why am I so fickle in love?” and “Oh, my hands are covered in blood,” the track spirals through remorse and punishment, becoming a near-liturgical act of self-exorcism.
Anchored by Andrews’ aching vocals and built upon his signature blend of lyrical intimacy, spiritual weight, and cinematic tension, “Babel” is a torch song for the self-destructive, a prayer from the wreckage. Fans of Hozier, Bon Iver, Jeff Buckley, and Matt Corby will find a kindred soul here, howling from the shadows.
The single marks a pivotal emotional peak in ’til the moon fades away, a six-track collection of ethereal indie folk and orchestral alt-rock that plays like a mythic song cycle. Each track in the EP is its own haunted tale, somewhere between a whispered confession and a fevered vision, and together, they form a body of work that’s as cinematic as it is soul-bearing.
“In the end,” Andrews says, “the
