Nick Waterhouse’s new release, Holly, is a trip back in time.
With its retro stylings, the album offers a mix of blues, rockabilly, big band and surf rock that could authentically sit in the 1960s; to the point where the listener might be forgiven for looking at the April 2014 release date with some scepticism.
The songs are well constructed, demonstrating a high degree of musicianship, with tracks that offer multiple solo sections from a variety of instruments. Waterhouse’s song-writing is evidently shaped around the music, with simple, uncluttered lyrics that break up the instrumental sections.
While Waterhouse has carved out a style that he never strays too far from, he provides some variety through alternating his instrumentation between big band wall of sound tracks and more subtle numbers with fewer instruments.
Waterhouse’s polished voice glides over the music, sounding like a slightly smoother version of fellow Californian Nathan Willett of the Cold War Kids.
The album’s opener, ”High Tiding”, is one of the more understated tracks, with muted low-down guitar and a similar feel to Nick Cave’s “Red Right Hand”; it’s an atmospheric number that builds to some nice surf guitar work.
However, it’s a strange choice for the opening track and you can’t help but wonder why one of the more upbeat tunes, such as second song, “This Is a Game”, could have been a stronger way to start things up and more indicative of the album as a whole. This toe-tapping number with its breaks of percussion, baritone sax and guitar sounds like a definite live favourite.
With the piano at the fore of It, Waterhouse’s voice is allowed centre stage. This combination is repeated on “Let it Come Down”, the highlight of the album, a seductive, jazzy number that draws the listener into its reflections on regret.
There are a number of songs that make you want to get up and dance, including the title track, which offers a powerful brass section, and “Dead Room”, constructed around a catchy minor key chord progression leading to a fantastic saxophone solo. On “Ain’t There Something That Money Can’t Buy” Waterhouse ponders modern materialism, while letting the Hammond Organ loose and providing some catchy backing vocals towards the end that make you want to join in with the singing.
The last part of the album offers some of its softer moments, with the cool jazz of “Well It’s Fine” and “Hands on the Clock”, a suitable closing track that brings to mind Van Morrison’s “Moondance”.
With Waterhouse committed to his retro style, his album might not reach broad audience, but he is talented song-writer and a skilled musician, making Holly well worth the listening experience.
Reviewed by Matthew Trainor
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