Blending the rising anticipation and emotion of a piano-led, synth-kissed soundscape, with quiet and low-toned vocals of short lines akin to the likes of Johnny Cash, Liam Nights gets personal and poetic throughout a beautifully purposeful Nineteen Ninety Nine.
Distinct vocals and the gradually intensifying emotional build-up prove noteworthy calling cards, and meanwhile the melody offers a simple, somewhat familiar thread throughout.
The release also includes a stunning feature from La Princesa de la Rodeo, for the acoustic guitar-led Falling. Already we see versatility from Nights, a simple arrangement, the songwriting and vocals at the forefront – no production overload, just purity of melody and imagery.
This second song is beautiful, immediately memorable for its relatable wording and resolve, also the skilful fusion of what feels deeply personal yet accessible all at once.
Interesting writing, always intimate, revealing, and with a notably free approach to music, the cinematic potential is clear, and as per that realisation – there’s an album currently in the making, throughout which Liam Nights promises a new James Bond sound.
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