It is a fairly unusual career path to spend decades in marketing before deciding to pick up a guitar in a Kalispell music shop. But that is exactly how Barry G.K. Thomson, better known now as Ker, found his way into the studio. Based in Scotland, Ker is leaning into a sound that is familiar to anyone raised on the classic British prog and folk-rock of the 70s and 80s. With his debut single “Wōndering on Giants” already out, he is now turning his attention to two new tracks, “There Are No Words” and “Lofty Thoughts,” which offer a good look at what to expect from his upcoming 2026 album, Converging Paths.

“There Are No Words” is a track that lives up to its title in a clever way. It is a love song, but Ker makes the point of never actually using that word. The song starts with a straightforward piano line that sets a relaxed, late-night mood. It’s a melody that feels like it was written in one sitting, and as Ker explains in the lyrics, that’s exactly what happened during a walk down the road. The instrumentation here is tight and professional. Pete Fairbairn provides some solid work on the Rhodes piano and Hammond organ, giving the track a warm feel that avoids sounding dated. Ker handles the acoustic and electric guitars himself, and he deserves credit for those tender guitar fills that pop up throughout the song. They are subtle and well-placed. Jamie Graham’s production keeps things clean, letting the instruments sit naturally in the mix.

“Lofty Thoughts” is more reflective but keeps the tempo moving. The song is about the stuff we keep in our attics, the old receipts and letters that we probably should throw away but just can’t. It’s a relatable topic, and Ker handles it with a sense of realism. This track has a bit more of a “jaunty” skip to it, thanks in large part to Fairbairn’s bass playing and the steady drum work from Graham. The recording process for this one involved a few hands. Andrew Entwistle handled the initial tracking, then the final mix was dialed in by Jamie Graham.

Technical ability is clearly a priority for Ker. He is currently working with a piano teacher to refine the notation of his songs, and that academic interest in music theory shows up in how these tracks are structured. They aren’t just three-chord wonders. There is a clear understanding of how to build a bridge and when to let a melody resolve. This level of craft has helped him pick up some decent momentum in the press, with outlets like The Ark of Music, Yonkers Observer, and Music Hit Box already giving him a nod. The general reception from listeners has been positive, largely because the music doesn’t feel like it’s trying too hard to be something it isn’t.

The roadmap for the next few months is busy. Ker is planning to drop more tracks like “Big Boots and Wide Brimmed Hats” and “Time Traveler” through the spring, leading up to the full 13-track release of Converging Paths. He has also teased a short piano piece called “North Valley Stroll – Part 1,” which suggests he isn’t afraid to experiment with shorter, instrumental interludes between the bigger productions. It’s a productive pace for a man who only started this chapter of his life in 2014.

Ultimately, Ker’s music works because it comes from a place of genuine interest. He is just a guy in a garden studio in Scotland making the records he wants to hear, and that kind of straightforward approach is worth a listen. It might have taken him a while to get to the studio, but now that he’s there, he seems to be making every note count.