With a pathbreaking blend of pop, r&b, alternative, and even classical, Yorkshire based singer-songwriter Aidan Tulloch has arrived with an album that’s mature, deep, and heartfelt beyond measure. Although Aidan refuses to categorise it as a debut album, as it seemed to just happen organically over a year instead of being a well formed collaborative endeavour, the cohesiveness and experimentation on display here make it well worth that tag. It’s a project that’s strikingly intimate, making you feel at one with each lyric and emotion that Aidan brings to life with his luscious string work, strangely low voice, and vulnerable keys. But with all this classical bravado that I can rave about, Aidan still maintains some of the euphoric production that you’d witness from the likes of a Blackbear or Khalid. And, in that strange mixture of contemporary emo-pop and classical compositions, lies the magic of ‘Us & Oblivion’.
Aidan combines autotune with a mellow easy speaking voice. I almost feel as though I’m listening to a Loyle Carner song here when I hear ‘you’re home’, the delivery is so trip-hop. And the chorus, atmospheric and spacy with autotuned vocals, elevates the experience. ‘Television Portrait’ is more poppy, Aidan’s singing with a grandiose progression behind each movement. It contains a breakdown that delves into complete futurepop, ten seconds where you feel you’ve stumbled on a Charli XCX or 100 gecs project. Wonderfully diverse, even within a single three minute piece. ‘mezzanine/still’ is sung defiantly and loudly, but backed by a simple piano instrumental that slowly progresses into a cathartic crescendo in the latter half. The ‘but I’m falling tonight’ towards the end of the song is the perfect closure.
Some tracks on the album let the piano take centre stage, and I mean completely. On ‘Nocturne’, a wholly instrumental piece, Aidan really takes all five minutes to create a vivid soundscape that’s replete with ambient sounds and a masterful piano progression. It’s a welcome stop off point on the album when you hear it. ‘HEARTREST’ is vocally dominant. His voice is loud and overwhelming, echoing with each lyric while the instrumental backing takes a minimal role as he roars forward in the chorus. Once again, the verse has a bit of hip-hop style to it — a smooth rolling flow that’s strangely comforting. ‘I’ll be your castle and king, yeah one of these days we’ll get some sleep’.
But it’s the final track, the titular one, the presupposed focal point that is ‘us & oblivion’ that had me most impressed. Aidan’s classical backing comes out clearer here than on any other piece with a wonderful violin (cello?) lead instrumental that’s soothingly serenading. Sometimes, words aren’t needed when an instrument can evoke so much emotion without them.
There’s so much in this album to appreciate, enjoy, and relish in. It’s got instrumentals, melancholic ballads, pop anthems, and even hyperpop experimentations sparkled across. Aidan’s talent as a songwriter and a composer really blew me away. If this is what he dubs a ‘record’ and not a ‘debut album’, I honestly can’t wait for his next endeavour. Without a doubt, a special one. Go stream ‘us & oblivion’ now and check out ‘television portrait’ on the Special Ones playlist!
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