The beginning is understated: a minimal low-tech beat is followed by a throbbing electronic bassline, transitioning to a more natural bass guitar. Things are becoming increasingly engaging; it's captivating, yet we're not quite reaching explosive heights.
Thus, the opening bars of 'The Kid' — marking the onset of Somebody's Child’s second album from Dublin-to-London artist — unfold with thoughtful precision and attention. This is not a forceful assault; instead, the album will unfold its message quietly yet persistently.
However, 'The Kid' continues to evolve. Those initial bars keep building momentum. Another layer of synth emerges, a stronger beat takes shape, more pronounced guitars join in — and at precisely one minute in, the vocals enter. “Love, death, and self-expression,” sings Cian Godfrey, as the rich sounds envelop us. It feels like a journey is commencing; Godfrey and his band are setting out on a defined path, pacing themselves wisely.
After five minutes of continuous rhythmic flow, 'The Kid' culminates in triumphant, distorted guitar strains. 'Last Night I Held Your Hand' carries that rhythm forward, maintaining a steady pace with a more expansive backing. It’s emotionally charged and euphoric; Godfrey captures poignant moments of life, vividly illustrating the surprising effects of love.
“I thought my youth was over / Now I’d die for you…”
Following this, 'Porcelain' fittingly adopts a more delicate tone, although it shares similar foundations with earlier tracks: the constant driving tempo has become a hallmark of the album by this stage. Thematically, it conveys a deep sense of longing amidst the unrelenting passage of time and people living intertwined lives apart. “I’m losing all my patience / Oh holding onto youth” serves as the refrain — starkly contrasting with the youthful optimism of 'Last Night…'
The album’s title track cleverly mirrors the start of 'Porcelain', with a similar introduction yet subtly distinct, the sounds slightly altered; here, our protagonist reaches a level of acceptance while still resisting. It becomes increasingly evident that the answer to what occurs ‘When Youth Fades Away’ is complex.
It's not until the fifth track, 'New Orleans', that the rhythm shifts. This song is slower and more syncopated: effectively an eight-line poem, rich in piano and blending delicacy with intention over a concise two minutes. The contrast works well; it serves as a clear interlude before continuing with the next section of the album. Having introduced new themes, Somebody’s Child allows for more playful exploration. In ‘Wall Street’, for instance, there are tempo shifts alongside a return to the album’s driving core; ‘My Mind is on Fire’ starts slowly and then adopts a sweet pace, with Godfrey showcasing his higher vocal range and his bandmates crafting a beautifully developed melody later, culminating in a triumphant finish. Likewise, although 'Irish Goodbye' begins with a familiar rhythm, it feels noticeably broader and more expansive than many of the previous tracks.
It would be easy to overlook much of the album as sounding “similar,” given the recurring strength of the theme. However, that would ignore the evident thought and care invested in crafting ‘When Youth Fades Away’. Somebody’s Child has a narrative to convey, a larger picture to create, building a cohesive sound structure to express their vision. They’re playing the long game in narrating their tale of bittersweet acceptance.
The concluding trio of tracks also showcases considerable skill and versatility. ‘The Waterside’ is reflective, cold, and lonely — stunningly atmospheric. ‘Life Will Go On’ maintains the album’s core sound but feels lighter, almost bouncy in parts, reflecting how casual remarks can sometimes interfere with our mental health challenges — where good intentions can complicate genuine help. “Life will go on / You just haven’t had your breakfast … It’s hard alright.” Lastly, ‘Time Of My Life’ wraps up the journey, returning to those relentlessly pounding drums backed by chime-like piano chords. If any record has a heartbeat, it’s this one.
‘When Youth Fades Away’ arrives at just the right moment, as spring has triumphantly emerged from a long, dreary winter in this part of the world. It’s the hopeful, anthemic album we all need — and, above all, it feels profoundly human.
8/10
Words: Phil Taylor
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It begins gently: a minimalistic low-tech rhythm, followed by a throbbing electronic bass, and now a more natural-sounding bass guitar. The atmosphere is starting to become a bit more