Introducing a catchy rock songwriting approach with a hugely uplifting, organic and colourful energy – Pierre Netty’s latest album A Mixed Bag of All Sorts is an aptly-titled ode to a songwriter and musician with an impressively established, satisfying collection of five full-length albums to his name.
Monkey on a Chain is a brilliantly relatable metaphor and anthem to kick things off, but as we move into the more intimate and smooth tones of Sometimes I Wish, the versatility and heartfelt depth of the songwriting stands tall. There’s also a distinct voice to the lyrics and performance – something that resounds throughout this extensive and well-grounded repertoire from Pierre Netty.
Easy to listen to albums are the backbone of this style, but diversity is also brilliantly incorporated from one moment to next, and perhaps more importantly – these stories, these original melodies and subtle fusions of styles, all help draw you in more closely as the music fills the space.
Consider the sultry soul, blues and trip hop vibe of a catchy The Way that You Move, or the contrasting indie grit and groove of I am not your Enemy (Song for Gaza). The deeply personal and the broadly topical or political walk hand-in-hand, as Pierre Netty proceeds to let artistic expression and real-time feelings and thoughts guide the creative process.
Pierre Netty has released a number of albums since his 2009 debut Full Circle. If we listen back to this project, the established nature and appeal of the music was always clear, and the voice, the strength of the songwriting, seems an inherent quality from the lifelong artist. This album began with an intimate reflection on longing to connect with someone special – Alone Again feeling hopeful and loaded with possibility, whilst cleverly walking the line between that which is decidedly personal, and that which is more vague and broadly relatable.
Full Circle continues with a largely loving and romanticised core, though there are hints of bigger issues already at play – mentions of addiction, conflict, inspiration, alongside beautifully anthemic hooks; such as the unforgettable and catchy resolve of For God’s Sake, or the warm to euphoric passion and peak of Circles. It’s a humble and comforting album, and again, its natural contrast with the rockier tones of more recent releases allows for a fully-immersive catalogue or playlist that’s ready and waiting to grace the airwaves.
Other albums like 2020’s Suburbia Sunday feature a similar degree of eclecticism from the expected format, the opening and title-track in this case leaning towards something like The Pixies in its mildly canned indie rock sound and instant conceptual confrontation. The style is still mellow and welcoming, the ideas half warming and half-thought-provoking. This project too is an easy pleasure to let play, and offers some sublime guitar work and instrumental escapism in the form of Joni and the more arena-ready and mighty Action Man.
So many hidden gems light up the Pierre Netty songwriter catalogue, and without any mis-steps either stylistically or performatively. It’s music you can trust in, both rewarding and calming – even energising when you need it to be.
Mainstream music is a difficult space to crack, but the indie realm is overflowing with talent, conviction, and exceedingly honest music. And So Here We Are is one final personal highlight, but the Pierre Netty name has so much more to offer beyond the moments mentioned here.
