The English folk-rock duo's fourth album gives the impression of being both meticulously crafted over many hours and spontaneously created in a single take. This is the most quintessentially Flyte album to date.
Flyte – Will Taylor and Nick Hill – have consistently demonstrated sensitivity, thoughtfulness, and tranquility since their debut, ‘The Loved Ones,’ in 2017. They've become so adept at their craft that one could easily overlook their continuous improvement. Their latest album, ‘Between You and Me,’ feels both intricately designed and effortlessly created, showcasing their signature sound more than ever. The first half of the album is more straightforward, softer, and sonically stripped down, highlighting the vivid songwriting that Flyte excels in.
While many songs have been written about LA, Flyte's contribution, ‘Emily and Me,’ is both subtle and sardonic: “we drove to the cemetery / To pose at the headstones of Candy and Belushi” cleverly critiques the Hollywood stereotype while also contemplating its comforting anonymity (“Emily and me / haunting the Boulevard / Emily, I see / our names in the stars”).
The lyrics of ‘Emily and Me’ are relatively specific, filled with dreamy imagery to create a vivid picture. In contrast, Flyte also evokes powerful emotions with just a few words. The lyrics of ‘I’m So Down’ mainly consist of the title phrase, yet in the second verse, a fleeting moment reveals the speaker's unspoken promise: “You wanna have a baby / Been talking ’bout it lately.” In just ten words, the repeated “I’m so down” and “obviously I’m in” take on a deeper, anxious significance.
Flyte excels at creating impact with nuanced simplicity, and they enhance this effect further with added elements. ‘Alabaster,’ featuring collaborator Aimee Mann, includes a luxuriously fuzzy electric guitar riff that enriches the tale of a guilty yet irresistible affair. Similarly, the instrumental of ‘I Just Can’t Believe That We’re Friends’ boasts a buoyant brightness not found elsewhere on the album. While the bass maintains a reflective warmth and the vocal melody flows smoothly, the acoustic guitar skips playfully, gradually joined by more layers as the song unfolds, allowing Flyte to momentarily embrace shy, joyful happiness: “It’s been a funny kind of year. Who’d have thought you’d find me here? […] I just can’t believe that we’re friends.”
In an album filled with skillfully crafted, resonant snapshots of uncertainty, anxiety, and nihilism, the bright moments stand out significantly. Sometimes they shine literally (‘Hello Sunshine’) and other times sonically (‘I Just Can’t Believe That We’re Friends’). However, the closer, ‘Everybody Says I Love You,’ ties together the themes of hesitance, sweetness, and sincerity. The slightly muted guitar strum again creates the sensation of eavesdropping on a private moment of contemplation, with the interplay of Hill and Taylor's voices sounding more like a mutual agreement than a dialogue. It serves as a fitting conclusion to an album that emphasizes the significance of space, connection, and trust between two individuals.
7/10
Words: Ims Taylor
An anthem for those who overthink, Glom’s cathartic track “Glass” presents a dreamy yet impactful blend of brightness and fatigue – a captivating indie rock dream that embodies the bittersweet struggle between ephemeral joy and the unavoidable grip of anxiety, paving the way for the band's most unfiltered and revealing period to date.
It’s safe to say that the past year has been extraordinary for Mên-an-Tol. The London-based five-member band will release their second EP, titled ‘This Land,’ on September 26th.
Flyte - comprised of Will Taylor and Nick Hill - have maintained a constant, thoughtful, delicate, and calm presence since their debut in 2017, 'The Loved Ones,' to such an extent that