Welcome to “Cut Through the Noise,” an entertainment column from the St. Louis Park Echo covering new music releases. Every week, a different Echo staffer takes on the role of writer, reviewing recent single releases from a variety of artists.
Lewis Capaldi — “Strangers” ★★★★☆
In breaking his mental health hiatus, “Broken By Desire To Be Heavenly Sent” is Lewis Capaldi’s second studio album through Vertigo Records and Capitol Records. Released on May 19, 2023, the album presented an emotional honesty foreign to a majority of the music scene and compelling vocals in competition with its predecessor. Capaldi’s music has certainly found its place in the modern industry, as his melancholy tone and impactful lyricism have touched many. In consideration of this, the extended version of his album was anticipated greatly. Encompassing five additional tracks, it was released Jan. 1. The song that most stood out to me was “Strangers.” I find myself considering it the perfect song for when you find you do not know someone you once loved, proving greater than just a “breakup song.” The lyricism was relatable and very clever. My favorite lines were, “I can’t even call, or call you a friend” and “It’s strange ‘cos you and I are strangers all over again.” Despite this, I found the lyrics repetitive and lacking the depth that those of his other songs have. I wish he would have expanded upon the narrative he articulated in the first verse and provided a continuation of that aspect of his lyricism. In disregard of this, his vocals were incredible, as I always consider them to be. His voice is soulful and demands emotion, and showcasing his mixed voice is what makes his vocals compelling. That is no different in “Strangers.” It is common for his albums to have a majority of ballads or slow songs, but I would enjoy hearing different instruments. The tune of this song is great and complemented by his voice, but the instrumental includes piano and guitar in combination with a little production. I can see how one may believe that is all the song requires, as the harmonies and instrumental together enhance the apparent simplicity, but “Strangers” sounds similar to a majority of his songs. That does not mean the song is uninteresting or unlikable, but I expected more.
Tom Odell — “The End” ★★★★★
I have played Tom Odell’s “Another Love” and “Heal” countlessly, and there has been much anticipation for his upcoming album, “Black Friday,” from the internet. Therefore, when I heard he released “The End,” I was intrigued. Released on Dec. 22, “The End” is a beautiful song that encapsulates contemporary music and shines light on the unique talent of Odell. Penned with Laurie Blundell and Eric Leva, the lyricism is personal and entrancing. In listening, you feel as though you are being told a story but are a part of it. He is speaking to you, but you are speaking to someone as well; surpassing all, you are permitted to imagine your life in place of the words. That is why I am always so attentive when listening to his music. His voice transcends his words, however. Odell’s voice is incredibly distinct, and his music is known to have certain combinations of mixed full-throat belting, a thick vibrato and a delicate falsetto; his vocal range and his articulation are stunning, and, yet, it is the soft tone of “The End” that I love most. That is why I love that the instrumental does not overpower his quietness in the song. The melody of the piano and the orchestra accompaniment are profound and add a lot to the song. It reminds me of a combination of indie and classical music, and it elevates the artistic value of the modern age. In particular, the song’s progression is an imitation of life and living; the sound and the instrumental rises and falls in accordance with Odell’s voice. It is the closest one can get to flawless. “Black Friday,” his sixth studio album and second album as an independent artist, will be released on Jan. 26, and if its musicality is anywhere similar to that of this song, I cannot wait to hear it.
Elliot Moss — “New Year’s Light” ★★★☆☆
Elliot Moss released “Next Year’s Light” on Dec. 28. I had never listened to his music before this song, as his artistic choices in music do not align with the genre I prefer. Still, I was excited to hear his music, as he is known to be an ambitious multi-instrumentalist, songwriter, producer and visual artist. Because of this, I find his involvement to be interesting and him primarily recording and mixing his own songs to be impressive. “New Year’s Light” had an echoing beat layered with acoustics, but I found the saxophone and guitar riffs to be what enhanced the music. In all, the song sounded more grunge and electro-pop, making the artistry soulful and intentional in embracing electronic, jazz and ambient sounds. The lyrics, however, made it difficult for me to appreciate the song in its entirety. The lyrics were extremely repetitive. When they were not, the language was colorful and imaginative, and that made me wonder why he chose to not include more lines that reflected that creativity. Though it could not distract me, his silky voice did, in a sense, compliment them. Again, this genre is not what I would prefer to listen to, and I find it hard to be fair because of it. Despite this, his instrumentals and independent production are enjoyable and a breath of fresh air, making Moss a promising artist of contemporary music.
