Album Review: Tom Odell - Long Way Down.

I've been an avid Tom Odell fan since first discovering him on Radio One at the beginning of the year. Having purchased tickets to see him live in October, the buzz of anticipation around his debut album was immense; I literally could not wait to listen to it!

I've now listened through the album a thousand times (maybe a slight exaggeration, but I have listened to it a lot!), and here I am going to provide a track by track review of Long Way Down. If you don't know much about Tom Odell, first of all, where have you been?! The Brits Critics' Choice winner has already featured on my blog a few months ago; the post includes all the key info you need to know, as well as numerous reasons why you should fall in love with his music! You can read the post here.

Grow Old With Me.

I love the simplicity of the track. The rawness of Tom Odell's vocals, the way they crack and aren't perfect, teamed with the basic piano backing and calming vocal harmonies during the chorus sections, make this track truly emotive. The passionate sentiment conveyed in the lyrics of the track are also really striking and compelling; I am completely drawn in by the track, leading to goosebumps and real emotion. The track doesn't lose any of this sentiment when the percussion kicks in, rather, this causes the passion to ooze out of every little beat. The album also includes a demo version of this track, which is very much worth a listen. 

Hold Me.

A track that I heard long before the release of the album, I absolutely love the chaotic intro with the amass of drum beats and shouting. Something Odell does brilliantly is convey the intensity of his emotions. The acoustic version of this track performed at the Burberry Fashion Show (which you can watch here) showcases a tenderness to the track which isn't apparent in the studio version. This isn't to say one is better than the other, however. I prefer listening to the dramatic studio version simply because it connects to me more and really emphasises the desperation suggested in the lyrics. 

Another Love.
My all time favourite track from this album, I fell in love with this when Tom Odell was first introduced to me through Radio One. The whole production of this track is completely stripped bare to its core: nothing remains but the melancholy vocals and the tender piano keys, which map the trajectory of the emotions of Odell perfectly. The conflict between the despondence, anguish and grief is phenomenally powerful in this track, and has been known to literally reduce me to tears numerous times! Even as I listen to the track now, I can feel the goosebumps tingling on my arms and the familiar lump in my throat as I'm completely lost in the narrative of the track. The way the instruments overwhelm the vocals frequently in this track is really effective in highlighting the despondence and the feeling of hopelessness that is so apparent in the tragic lyrics. 

I Know.

This is my favourite track on the album from the tracks that I hadn't heard before the release of Long Way Down. I can't quite pinpoint what draws me to the track so much; the lyrics are certainly emotive and, true to Odell, tragically melancholic, but I feel it's more the multitude of textures in the production that really catches my attention. The synchronicity of the vocal harmonies and the dramatic percussion really accentuates the tension in this track, which is then stripped to an almost acapella section and then built back up with a continuous drum beat which (yes, this is probably me just being a Literature student and going too far with my interpretations) echoes the heart beat of someone who has just been hit with the realisation that something they love is over.

Sense.

This tracks portrays a much softer side to Odell's vocals. The way some lyrics are barely audible is unbelievably calming, whilst also holding your attention even more than the chaos of Hold Me, as you stretch to hear every single utterance. Again, the imperfect vocals are stunning; the force on the end syllables of words, like 'drunk' is memorable and makes the message of the track more real than if it were presented to us through over produced, synthetic vocals. It seems that Odell gets stronger through the track, before reverting to his broken vocals and simplistic piano keys at the end. To use an overrused, awfully cliched term, this 'rollercoaster' which ends on what some people may describe as anticlimactic note, really is beautiful and I personally think the 'anticlimax' of imperfection is what sets Odell above other new artists.

Can't Pretend.

Possibly Odell's most famous track to date, Can't Pretend. The despondency of these lyrics is overwhelming and something you can't help but take away with you after listening to the track. The heaviness of the piano is almost moody, which I think is completely compelling. I love how the dramatic angst is built up to a pinnacle, then completely released until kicking in with the percussion and the overriding tones of Odell. The sharp contrast between this section and the following section, with high pitched, almost upbeat, piano makes this track quite ambiguous in some respects.  

Till I Lost. 

Probably my least favourite track on the album, I can still appreciate the construction of a quite 'every day' day into something so stunning through Odell's lyrics. Despite saying this is my least favourite track, I do really like the chorus sequence. The use of a higher pitch on the piano marks a striking contrast to the stormy percussion which overwhelms the first section of the track. The chorus sequence is a more enjoyable listen, in my opinion, as it is the first time we are presented with something really different from Odell. 

Supposed To Be.
This track really stands out as being different to the others. The use of female harmonies and a kind of gospel-ly response to every line Odell sings is unusual and unexpected, but works brilliantly in inspiring the optimistic realisation that comes across in the lyrics. That's not to say that the bereavement of the relationship isn't felt in this track, the peaceful tones of Odell initially in this track reinforce his sadness, but you can't escape the seductive jazz-inspired piano sections which add a hopeful twist to the sad story. 

Long Way Down.
The title track of this album doesn't seem to have the same 'oomph' as the earlier tracks, making me question why Odell chose this as the title track. The message conveyed in Long Way Down certainly rings true across the album: the tragic desperation; the clinging hope; the eventual despondence. The track is also noticeably shorter than the other tracks on the album, making it very easy to dismiss and not notice when you listen to the album as a whole collection. When you are attentive to the track, however, the vocals take you on a journey which spectacularly presents the sheer magnitude of life, and the necessity to focus on the 'smaller', but more important things. 

Sirens.

It is evident that the piano keys and drums were hit very hard in the making of this track! I love the dazed feeling you are left with after the chorus of this track, when you are completely consumed by the multitude of sounds. This is definitely a track to be enjoyed live; with the multitude of layers in its production, the complex nature of the track mirrors the fast paced narrative through through the vocals, in which you can find yourself lost at times.

BONUS TRACKS

I Think It's Going To Rain Today.
This cover of Bette Midler's classic is so serene and tender in comparison to the rest of the album, which is really effective in showcasing the range Odell has. He perfects an original version of the track whilst also retaining the intended hopefulness. The consistent use of harmonic sequences adds to the peaceful nature of the track, creating a perfect atmosphere to close his collection of tracks with. 

Storms.
The pace of this track is quite a shock to the system after the peaceful Bette Midler cover! It's been one of my favourite tracks to listen to, though. I really admire the use of choir-like harmonies which may be judged as outdated and odd; it's brave to enter the music scene with something so 'traditional' when we're all so obsessed with production and futuristic vocals. Storms is modernised in many ways through its use of the bass guitar which adds an undertone of drama that gives the piano and choir a bit of edge.

Heal. 

This track is also very traditional in it's chorus tone; the use of high pitch by Odell is memorable and adds a prayer-like quality to the track (without being too church-y!). The pureness in this track is infallible, and is a thoughtful way to end the album. The piano in this track echoes the vocals rather than standing alone, emphasising the focus on the lyrics which are so beautifully uttered by Odell.