Utopia Pkwy Shares 'Nothing is Missing' Single and Video

Utopia PKWY, the new project of John Beckmann, songwriter, producer, and creative force behind THE MORTAL PROPHETS, has shared 'Nothing Is Missing,' the third single from its self-titled debut album. The album is due out November 6th and marks the first full-length release under the Utopia PKWY name — a sunlit departure from the shadowed interiors of THE MORTAL PROPHETS. Written and produced entirely by Beckmann, the album explores themes of longing, reinvention, escape, youth, and surreal American romanticism.

'Nothing Is Missing' is a dreamy, hypnotic track that explores the strange persistence of grief and the possibility of finding something beautiful within absence. Beckmann describes the song as, 'Less a song than a philosophical hallucination, more like a midnight transmission from the far side of grief — where loss doesn't disappear, it simply changes frequency and keeps humming beneath the skin.'

Named in reference to Utopia Parkway, the Queens street associated with Surrealist artist Joseph Cornell, Utopia PKWY suggests a private universe assembled from memory, suburban light, damaged pop, and strange talismans. The music moves with the immediacy of a pop record while retaining the art-damaged intelligence of Beckmann's broader catalog.

For this project, Beckmann steps away from the microphone entirely, handing vocal duties to Tanner McGraw and Lawson Mars, two collaborators he affectionately refers to as the 'kids in the neighborhood.' Their voices bring freshness and emotional openness to Beckmann's psychedelic architecture, giving the songs a sense of youthful motion and vulnerability. Echoes of Syd Barrett and Robert Wyatt surface in the album's playful instability, while Cornell's fascination with memory, maps, stars, and impossible little worlds quietly informs its emotional landscapes.

A thoroughly engaging blend of post-pop and synth-wave-infused psychedelia, Utopia PKWY moves beyond the darker atmosphere associated with Beckmann's previous work into something warmer, stranger, and more melodic. Chrome-colored keyboards, warped hooks, sci-fi theremins, trippy sitars, and radiant melodies drift through richly layered arrangements that feel both cinematic and immediate. The album evokes suburban streets glowing in late-afternoon light — a world of synthetic drums, shimmering textures, and dreamlike momentum where nostalgia and futurism coexist.

The record is optimistic without becoming simple, sunny without becoming sentimental, and psychedelic without losing its architecture. McGraw's vocals give the project a new center of gravity, while Mars' backing vocals expand the songs with lift and shimmer. Beckmann writes, produces, and constructs the sonic world around them, creating an album that feels simultaneously like a new band and an alternate dimension of THE MORTAL PROPHETS — a strange little universe where damaged pop, youthful possibility, and surreal American nostalgia can exist together.

'Nothing Is Missing' by Utopia PKWY is out September 25th. The self-titled debut album is out November 6th, 2026.

Tracklist

1. I Knew You Were Trouble

2. Sleep In Moving Colors

3. Nothing Is Missing

4. If I Could Steal One More Kiss

5. You Talk Like Every Feeling

6. What Disappears

7. Come In Waves

8. Glitter And Doom

9. Fall Into You

10. Dreaming I'm A Rock Star

About Utopia PKWY

Utopia PKWY is the new project from John Beckmann of THE MORTAL PROPHETS. Known for moving restlessly between dark ambient music, haunted psychedelia, blues mutations, dream-pop textures, and avant-garde song forms, Beckmann has built a catalog defined by atmosphere, literary intensity, and a refusal to stay fixed in one genre. With Utopia PKWY, Beckmann turns the dial toward color, melody, and forward motion. The debut is not a clean break from THE MORTAL PROPHETS so much as a side door into another weather system: brighter, more kinetic, and charged with chrome, tape haze, vintage futurism, and surrealist pop logic.

The project draws on the strange emotional territory between Syd Barrett, Robert Wyatt, Cocteau Twins, Slowdive, synth-wave, and psychedelic art-pop, but it never settles into imitation. Beckmann's production remains tactile and cinematic: keyboards shimmer, guitars blur into atmosphere, theremins hover at the edge of the song, and trippy sitars flash through the arrangements like half-remembered signals.