Aldous Harding – Party (Flying Nun/4AD)

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Almost three years after the release of her debut album, Aldous Harding sheds the guise of an 18th century English folk singer and, with the help of producer John Parish, begins to find her own, unique voice.

It’s true that Aldous Harding’s first album was a wonderful thing, but once hearing her perform live, it quickly became obvious that this record was just a jumping off point.  As she became more comfortable with her voice and her songwriting, a very different sound began to emerge from Aldous.

Witnessing shows over the past couple of years one could hear Aldous testing her voice, trying out new textures and new timbres. Those experiments have become evident on Party, Harding’s stunning new album.

Stunning is a word bandied about quite often these days, but in this case, I mean it quite literally. There are moments throughout the nine songs that comprise Party that will leave the listener stunned…at the beauty, the unorthodox approach and the virtuosity on display here.

The album begins with Blend, a tune that sounds like it could have been on the first record. Aldous’ vocal is double-tracked and there is some subtle percussion and synth mixed with the acoustic guitar, but nothing too radical.

That quickly changes with Imagining My Man, the first of a handful of standout tracks. Aldous is using the lower register of her voice…one we haven’t heard on record…while a muted piano, drums and guitar accompany her. Then, as she gets to the chorus…”All my life”, and then a starling “Hey!” punctuates the tune, bringing the listener to attention. This device is used somewhat randomly and effectively throughout the rest of the song.  “I didn’t have the answer”, Aldous wails and a droning sax brings us back down. What a track!

Living The Classics is a simpler tune with rippling acoustic guitar and a beautiful melody.

It’s followed by the title track, and this one is another startling performance as Aldous begins demurely and works up to a loud, pinched wail as she sings, “If there is a party, will you wait for me?” That voice seems to come out of nowhere and grab the listener. Eventually a choir of voices, together with a clarinet and a Mo Tucker-esque beat bring the tune to a close.

Aldous goes for the lower notes again for I’m So Sorry, sounding like a torch singer before we hear what is the highlight of the album, Horizon.  Beginning with a stark, stately piano chord, the track features Aldous’ most intense and impressive vocal performance. It’s a love song, full of fury and passion. The growing cellos underpin Harding’s lyrics as she offers, “here is your princess and here is the horizon”.

From there, the final three songs are more conventional, but ever so lovely, giving the listener a chance to catch their breath after the intensity of what came before.

Party is a huge step away from the first album, as Aldous is obviously experimenting with her voice while Parish is dressing that voice with subtle, yet innovative instrumentation.  Harding’s songwriting skills have also grown by leaps and bounds.

Having said that, I’m guessing that as Aldous Harding’s career progresses, this will be looked upon as a transitional album, as I think she has still got more surprises for us, surprises that will reveal a more defined artist.

However, Party can easily stand on its own and will no doubt be listed as one of the year’s best when December rolls around.

Marty Duda

Click here to watch the new Aldous Harding’s 13th Floor Video Session where Aldous performs Living The Classics and Elation, a brand new tune, not on the new album. 

 

 

 

 

 

 

Marty Duda
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