Despite the complexity of their music, The View have struggled to move beyond their early reputation of troublemakers, recounting adventures and interactions with interesting characters in their songs. However, amid the revelry, lead songwriter Kyle Falconer has consistently drawn inspiration from those who have experienced heartbreak. Even on ‘Hats Off To The Buskers’, songs like ‘Face For The Radio’ and ‘Claudia’ distinguished themselves from the exuberance.
In his solo endeavors, Falconer has explored this aspect of his songwriting, culminating in the deeply personal and introspective ‘No Love Songs For Laura’ in 2021. Now, just in time for Valentine’s Day, he has curated a collection of his most intimate tracks, reimagining them to emphasize the core of the music without excess production.
As a result, the delivery of the nearly two-decade-old ‘Claudia’ feels different and somewhat more tranquil, yet the optimism of the melody remains vibrant. ‘Grace’, a favorite among fans, is less frenetic with added jangly influences reminiscent of The Smiths, but the chorus still effortlessly ascends. Meanwhile, the rustic ‘Gem’ (wisely retitled from ‘Gem Of A Bird’) exudes a camping, fireside atmosphere, featuring tambourine and birdsong, while ‘Rebecca’ lacks musical exuberance but retains Falconer’s trademark passionate vocals.
Although the album is primarily acoustic (with all instruments performed by Falconer, aside from contributions from Drew Palmer and Neeve Zahra), he opts to maintain the intensity of his vocals. Given his impressive vocal range, this is a wise decision; on ‘Lucy’, he challenges his voice by climbing the scales before allowing rapper PROSE a brief solo interlude.
Recorded at his picturesque retreat in Alicante, the album possesses a fitting richness. The sole new track ‘Angelina’ features dramatic percussion and sweeping strings, lending it a cinematic quality, while ‘Dixie’ sparkles like a classic lost John Hughes film. Produced by Falconer, the clarity of the music effectively complements the subject matter.
This subject matter is not all sweet and sentimental. On ‘Laura’, he reflects on the consequences of his actions on his partner, and the new version doesn’t shy away from that remorse, while on ‘Kelly’, he tackles issues of gender identity, although with a love-stricken tone.
The album may not appeal to everyone; absorbing 13 songs of generally similar pace and tone might be overwhelming in one sitting. Nonetheless, and if it needed to be emphasized, Kyle Falconer has an impressive repertoire, and while this album showcases just a fraction of his work, his consistency over the years deserves recognition.
7/10
Words: Richard Bowes
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