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newmusickarl · 2 years

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Album & EP Recommendations

Last Night In The Bittersweet by Paolo Nutini

I must admit I had completely forgotten all about Paolo Nutini’s existence. It may have only been eight years since the Scottish singer-songwriter last released an album, but that was long enough for him to fade out of my memory altogether. That’s not for disliking his music either – although I wasn’t overly keen on his debut These Streets, there were plenty of moments on his subsequent releases, Sunny Side Up and Caustic Love, that I played a lot at the time. However, in today’s current climate of hypersonic music release schedules, taking eight years out is a big risk as there’s no guarantee you’ll be able to get back the same spot that you left behind. Thankfully for Paolo though, just a few songs were all it took to instantly remind me of why he was always such a heralded songwriter.

Whilst his last two records saw him evolve from his soul-pop origins to explore more diverse sonic landscapes, bringing in elements of jazz, country and R&B, Paolo takes things even further on his fourth album, Last Night In The Bittersweet. Across the album’s expansive sixteen track odyssey that clocks in well over an hour, he bounces between those previously deployed stylistic traits, but also throws in a few new ones as well – most notably new wave, indie rock and ambient electronica. It all makes for a dazzling, eclectic and richly textured listen, however it’s not without a few niggles.

That said, none of those niggles appear in the first part of the record, which is simply one of the best opening six track runs you’ll hear all year. Opener Afterneath begins ominously before Paolo’s vocal screeches engulf the space, carrying with them strong shades of Zeppelin-era Robert Plant. From there the track rumbles on like a freeform jam session, overlaid with Paolo’s hypnotic spoken verse and snippets of 1993 classic crime film True Romance (which Tarantino even gets a songwriting credit for here). It’s a startling beginning to the record, as Paolo then brings things back to more familiar territory with stunning soulful rock track Radio, with its glistening guitars and spine-tingling, repeated cries of “I want love.”

Lead single Through The Echoes is up next, an exquisitely crafted, stripped back love song where Paolo’s heartfelt vocals are the star of the show. Acid Eyes then might be my early favourite from the record, with its instantly memorable refrain and jangly melancholic guitars, sounding a bit like Because of the Times-era Kings of Leon. Stranded Words is then branded as an interlude but is a great track in itself, with Paolo’s Celtic tones speaking softly in a hymnal-like way over some quiet synths. Subsequent track Lose It then rounds off this incredible opening run, entering from the other end of the spectrum as a raucous guitar-driven rock track but with a tinge of gospel thrown in too.

After that though, the album does become decisively more hit and miss. Although some people will enjoy the playful throwback sounds of Petrified In Love, I really can’t get on with it at all. And then whilst tracks like Abigail, Heart Filled Up, Shine A Light and Julianne all have their moments too, they don’t light up the record in ways not already generated by the other tracks.

However, there are still plenty of gems lurking in the mid-latter half of the record too. Everywhere starts off quiet and subdued before erupting into a huge crescendo of soaring guitar riffs and soulful cries. Children of The Stars is then a wonderfully mesmeric bluesy number whilst Desperation is a pulsating Strokes-esque jittery rock track, which culminates in probably the album’s finest guitar passage. The album then eventually draws to a close with epic penultimate track, the seven-minute-long ballad Take Me Take Mine. Once your ears have wandered through its labyrinth of spacey synths and dreamy guitars, Dylan-inspired acoustic track Writer then ends the record on a heartfelt and reflective note.

My overall takeaway from this record is that you get the sense Paolo is just having fun with different sounds, and this album reflects that. The album art is even Paolo sat in a room with an array of instruments around him and that really is the record’s whole vibe - like you’re sat in a room with him as he’s playing you these songs. As a result, it can often feel more like a collection of songs than a cohesive body of work, with a strong sense of Paolo essentially just showing you what he’s been making in his time off, sometimes jumping between styles in a quite jarring fashion - but these are ultimately only minor issues.

Whilst it may be a little too long and far from perfect, on the 11 or 12 tracks where it does hit, you’ll be completely swept away by the raw brilliance of Paolo’s vocal and songwriting talents. In a quiet week for album releases, you can do much worse than an hour or so with Last Night In The Bittersweet.

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Seven Psalms by Nick Cave

Elsewhere this week, Nick Cave finally released his EP of Psalms that he wrote over lockdown. Whilst it may just be Cave sharing his words of wisdom with some subtle sonic backing from Warren Ellis for 10 minutes, fans of the pair will still no doubt enjoy these short but sweet compositions.

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Tracks of the Week

Part of the Band by The 1975

The big return this week was that of indie-pop superstars The 1975 with the first intriguing taster to their upcoming new album, Being Funny In a Foreign Language. When the lead single to their last record turned out to be the heavy 90s punk inspired track People, it did seem to open the door for the Manchester outfit to really make whatever songs they wanted – they weren’t just an indie-pop band anymore.

That said, I was still very much expecting this new single to be more in keeping with their traditional sound, especially given the mixed reception to their last album, Notes On A Conditional Form. But keeping true to themselves, this one is yet another sharp left turn – an artsy, string-tinged and quite understated track, with frontman Matty Healy lyrically found in a contemplative and nostalgic mood. If you heard this on chart radio you would probably think it was a mistake, as it is far from the typical return single you’d expect from one of the biggest pop bands on the planet.

And whilst I’m not completely enamoured with the song yet, I’m just grateful that The 1975 continue to throw curveballs like this, ignoring conventional troupes and defying public expectations at every chance they get. One thing is for certain, I’m keen to hear what’s next.

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Hate by Loyle Carner

Also making his highly anticipated comeback this week was UK rap superstar Loyle Carner, with his hard-hitting new single, Hate. Usually friendly, calm and collected, this song finds Loyle in an angry and defiant mood, as he puts the world to rights over racial inequality and injustice against an infectious piano-driven beat.

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Can’t Forget by Low Island

Over the last 12 months, there has arguably been no new band killing it quite like Low Island. Having delivered one of the best debut albums of 2021, they kept that strong momentum going with their excellent Just Another Dreamer EP released earlier this year. Now this week saw them release the brilliant first single from their forthcoming sophomore album, Life In Miniature. Charged with their electro-pop sound and lyrics surrounding the fear of growing up, it all eventually erupts into a scintillating guitar solo at the song’s climax. A sensational track from a band presently operating at the absolute top of their game.

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Eleanor by Hot Chip

Also out this week, Hot Chip continue the build to their forthcoming eighth studio album, Freakout/Release. This one features a typically playful melody, catchy chorus and some trancey dance synths, but with dark lyrics at the heart about suffering through unimaginable pain. Eight albums in and Hot Chip continue to sound as fresh and vibrant as ever.

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Passenger by Boston Manor

And finally this week, Blackpool rockers Boston Manor served up the infectious second single to their upcoming new album Datura and it is a typically rapturous anthem built on a huge chorus and some blistering heavy riffs.

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#paolo nutini #radio #live in the bittersweet #life in the bittersweet #nick cave #warren ellis #the 1975 #part of the band #loyle carner #hot chip #low island #boston manor #new music #best new music #album recommendation #song recommendation

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newmusickarl · 2 years

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Album & EP Recommendations

Can You Afford To Lose Me? By Holly Humberstone

Although I hail from Nottingham these days, my original hometown is in Lincoln, Lincolnshire. Now other than being known for the renowned Lost Village Festival that takes place once a year, the music scene in the area is kind of dead. Once upon a time, bands would regularly play there on their way up to superstardom (indie titans like The Killers, Kings of Leon and The Wombats all passed through back in the day), but nowadays most will just head to nearby cities like Sheffield or Nottingham instead.

With this being the case, it also means that rarely new artists emerge from Lincolnshire. So when one does eventually break through and get some national exposure, it’s kind of a big deal. Back in the mid-00s, emo-tinged synth-pop outfit I Was A Cub Scout were the band that looked most likely to put Lincolnshire on the map, but sadly they quickly disappeared almost as quick as they arrived. Now it may have taken nearly 15 years, but Lincolnshire finally has a new hope and she’s already making waves that no other artist from the area has done previously. Her name is Holly Humberstone.

Holly has already had quite an incredible 2022, having been named as this year’s Brit Awards’ Rising Star winner before then going on to support pop heavyweights like George Ezra and Olivia Rodrigo on big UK and US tour dates. She also overcame her nerves to deliver a memorable Glastonbury performance on the John Peel stage over the summer. Now as she gears up for her as-yet-unannounced debut album to be released some time next year, Holly has combined her latest single and highlights from her recent two EPs into an impressive “Story so far” compilation.

If her brilliant EPs passed you by previously, then Can You Afford To Lose Me? Is the perfect introduction to Holly’s music. An unconventional pop star in every sense, her music is always beautifully written and tastefully understated. The album’s opening title track is a great example, with her soft vocals gracefully gliding over a Bon Iver-esque folktronica accompaniment. Scarlett is then an upbeat, instantly catchy track in which Holly reflects on some tough love advice given to her friend over a one-sided romantic relationship. Her very first single Deep End then continues to hit home thanks to the rawness of the words and guitars, before Haunted House presents a gorgeous stripped-back piano ballad offering up an ode to her childhood home.

Structured almost like a live set, Holly ultimately saves her real big hitters for the album’s back end. Thursday remains my favourite song of hers to date, a spiritual sequel to Scarlett with the lyrics “Let it burn, this is hell on earth and you're enjoying the weather” giving a playful nod to Earth, Wind & Fire’s September, which is also directly referenced in the track. Popular single The Walls Are Way Too Thin then radiates with a Lorde-esque melody, emotive lyrics and shimmering instrumentation. It’s all then wrapped up with the glorious duo of Falling Asleep At The Wheel and Friendly Fire which combine to deliver a stunning grand finale.

Obviously I’m going to route for her anyway because of her Lincolnshire roots, but I do think Holly Humberstone is an exceptional talent who already has an impressive catalogue of just great pop songs. At only 22 years old she’s only just getting started too, with plenty more room for further artistic growth. I’ve enjoyed following her journey to this point, but I have a feeling next year things are going to go up another level – so use this compilation as an opportunity to jump aboard.

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Mareas De Oro EP by Gold Tides

Mama Mañana Records are quickly establishing themselves as a record label that just doesn’t miss. Following up Hubba’s brilliant Empty Dreams EP last month, the attention now turns to the latest offering from Sante Fe’s desert rock heroes, Gold Tides.

Collecting together six songs crafted during pandemic writing sessions, Mareas De Oro is a hazy and brilliantly trippy listen, filled with jangly guitars and mind-altering musical passages. Sunni, Pt.1 opens the shortplayer with deep, warped vocals and gorgeous sand-stained guitars, before Monsoon Seduction chimes in with its playful keys and punky vocals from frontman Gabe Koehler. Recent single Satanas then sees Lorenzo Aragon take over vocal duties for a hypnotic moment sung completely in the Spanish.

Sunni, Pt.2 then presents a complete contrast to the similarly named opening track, channelling imagery of cool, deep blue oceans over a rambunctious refrain of “stop fighting it and run to it.” The appropriately titled So Far So Good remains my personal favourite, featuring a psychedelic central guitar groove with an instantly catchy refrain of “Through the Void I Saw It / Through The Flames I Saw It.” Before you know it, the rumbling bassline of Sweettart arrives to carry you into the sunset on a wave of joyous surf rock.

Overall, this another brilliant EP from Gold Tides and also another excellent release from Mama Mañana Records. You’d do well to keep an eye on both band and label going forward as they continue to deliver the goods.

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Life In Miniature by Low Island

“As the name of the record suggests, it is a snapshot of the last two years in which frontman Carlos Posada seemed to encounter all of life’s blessings and curses during one quite intense period. From love and loss to happiness and grief, to sad endings and new beginnings, here Low Island present a beautiful tapestry of treasured memories that, although personal, impactfully resonate out of the audio through lyrical gut-punches and life-affirming sonic uplifts.

With Life In Miniature, Low Island have successfully built on last year’s debut with another strong collection of songs that simply radiate with electronic majesty whilst also frequently moving you to your core. The songwriting really is the star of the show this time, gifting a beautiful reflection on life, love, death and memory that is just stunningly poetic in its blend of joy and melancholy. This may be Life In Miniature but the lasting impact is closer to the max.”

Read my full review for Gigwise here

Listen to the album here

Ultra Truth by Daniel Avery

“A grooveable record with no interest in hanging at the club, for every floor-filling moment like “Wall of Sleep” that features newsletter favourite HAAi offering heavenly vocals over synths and a skull-crushing foundation, there’s a slower, atmospheric comedown which gives pause to the trek. Perhaps no song demonstrates this idea more than “Overflowing With Escape,” the auditory equivalent of being crushed by a wave under layers of compressed distortion. The listener is forced to confront the track’s heaviness, but there’s beauty in staying in the demanding moment.

Ultra Truth is one of those albums that skirts description, instead begging to be experienced with a fully devoted ear. Daniel Avery crafts a moment that gloriously combines electronic music with pure humanity.”

Read Kiley Larsen’s full review here

Listen to the album here

Brothertiger by Brothertiger

“Musicians usually give the self-titled treatment to their debut album. Still, when a vet decides to go down this path, it typically means pursuing a reset with an offering that plays to their strengths. After his acclaimed Tears For Fears Songs From the Big Chair cover album and four compilations of lockdown-era livestreams in the form of the stunning Fundamentals series, it’s only natural Jagos is looking for new trails.

Not only is Brothertiger a successful reset, but it’s also Jagos’ best official album. Even when hanging on to his chillwave roots, like on “Summer Wave ’98,” a song that wouldn’t sound out of place on Nick Hexum and George Clanton’s collaboration album, Jagos’ technical explorations are evolved. As we head into another turbulent week, make space to float away with Brothertiger. You’ll thank yourself for it.”

Read Kiley Larsen’s full review here

Listen to the album here

Protector by Aoife Nessa Frances

“Throughout eight tracks, Frances takes us on a journey though love, loss, angst and hope. There are a wealth of female influences throughout the album, with ‘Chariot’ recalling Alanis Morrissette’s ‘Uninvited’ in particular, while shades of Kate Bush and Tori Amos are plain to hear, as well as even Madonna on ‘Only Child’. Whether consciously or subconsciously, Aoife is definitely drawing on what has come before.

Everyone will find something to relate to in these songs and the sonic melodies will haunt you long after a first listen, but perhaps what is most intriguing will be to see how this music translates live.”

Read the full HeadStuff review here

Listen to the album here

Other Worlds by The Pretty Reckless

“Supporting their forthcoming UK tour, The Pretty Reckless release an album of covers and alternate and acoustic versions to wonderful effect.

Other Worlds is built around a tribute to the band's hero Chris Cornell. They were touring with Soundgarden when Cornell sadly passed, and you can hear their influence. The cover of "Loud Love" is a perfect nod to the Soundgarden sound, with lead singer Taylor Momsen bringing her A game.

This record is a fan service dream. That said, if you aren't familiar with The Pretty Reckless and their work, then this would actually be a smart place to start, there's a lovely, warm feel to the record, and it offers you a great look into the band and their influences.”

Read Stu Evans’ full review for XS Noize here

Listen to the album here

English Leather by Nancy

“Hailing from the north-east, the psych-pop provocateur created quite the buzz last year off the back of his well-received mini-album, the interestingly titled The Seven Foot Tall Post-Suicidal Feel Good Blues. That record introduced listeners to Nancy’s bizarre artistic vision, where he draws inspiration from vintage sounds of the 60s and 70s and blends them into a carnival of eccentricity. Wasting little time delivering the follow-up, English Leather is Nancy’s latest offering which sees him build on his previous effort in every way – both the good and the bewildering.”

Read my full review for Gigwise here

Listen to the album here

Also worth checking out: Where I’m Meant To Be by Ezra Collective, Myself in the Way by Turnover, How can I Sleep? I’m Wide Awake EP by Beaux, Smithereens by Joji, Alpha Zulu by Phoenix, The Hunna by The Hunna

Tracks of the Week

You Better Mean It by Nimmo

Rejoice as the UK’s finest dance act is back and preparing for their next era. As we’ve come to expect from the duo of Sarah and Reva, You Better Mean It is another straight-up banger to add to their extensive catalogue, powered by bassy synths and rich soulful vocals. Glorious!

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The Delicate Nature by Bob Vylan featuring Laurie Vincent

Fresh off the back of dropping one of the Albums of the Year, grime-punk duo Bob Vylan have now teamed up with Slaves’ guitarist Laurie Vincent for another hard-hitting thumper. With harsh heavily distorted guitars and steaming hot bars from Bobby, it all erupts into a frantic and ultra-aggressive final 20 seconds. Awesome!

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CYAN1DE by nothing, nowhere featuring Pete Wentz

And finally just in time for his highly-anticipated UK tour getting underway this week, emo/rap/pop-punk sensation Joe Mulherin has teamed up with scene legend, Fall Out Boy’s Pete Wentz, for another passionate and mind-melting genre crossover. With a big anthemic chorus and a balanced mix of clean and scream vocals, its sure to go down a storm on his upcoming live dates.

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Also out, also great: Running Up That Hill (Like A Version) by The Wombats, Mother by Matt Maltese, Pretty Boy by Noel Gallagher’s High Flying Birds

#holly humberstone #can you afford to lose me?#gold tides #low island #daniel avery #pretty reckless #brothertiger #aoife nessa frances #nancy #nothing nowhere #pete wentz #nimmo #bob vylan #slaves #laurie vincent #fall out boy #new music #best new music

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