I’m sure the time to review his music has passed, but better late than never.
Tom Odell is undeniably one my favourite artists, as much as I believe he is incredibly underrated. From the first listen of 2013’s Another Love, I was curious about his music – the instrumental is raw and his voice is filled with unpolished emotion that still never fails to provoke emotion within me.
The rest of his album was just as emotive, with passionate lyrics of young love and lost love, all pushed forward by his infamous piano. Clearly a key staple in each of his songs, his piano seems to bring a familiar flavour to each song, despite the clear differences between most of his songs, giving each track a bit of Odell flair, and it only serves to make my love for piano music stronger; it inspired a weak attempt to learn how to play the keyboard, though self-teaching isn’t one of my strong suits.
Though a few of the songs on Long Way Down didn’t entirely resonate with me – something which happens to me with most albums I own – there are some surely classic tracks that both broke my heart and filled it with joy. For example, I Know is a beautiful but blue song, with his wonderful voice wailing the misery I’m sure everyone will experience and recognise at least once in their lives. Can’t Pretend stuck with me very much, with the dramatic, dark vibe and moody vocals. To me, music isn’t good music unless it inspires me in some way (of course, in my own opinion), and at least gives me imagery to work with. Can’t Pretend evokes imagery of a dark, Victorian England – perhaps the song has been advertised on a period drama of a similar theme.
This simply powerful album bought me many tears along with much happiness, and a love for Tom Odell which I don’t see fading any time soon: so when his latest album, Wrong Crowd, was released, I almost had a fit of excitement at the prospect of new music to devour.
Listening to the lead single for the first time – Wrong Crowd – I was immediately hit with nostalgia (after all, three years is such a long time). Those first few notes like a dim heartbeat reminded me of why I loved Tom Odell in the first place – his particular sound on the piano, along with the eventual first few lines in his unique voice. I realised, as I bobbed my head along to the song, that he has seemingly taken a different turn from his typical, simplistic style, adding richer instrumentals and more layered depth to his sound. I also realised that I liked this ‘new’ Tom very much.
The music on Wrong Crowd is notably different from that of Long Way Down, with each song having a more distinctive tone and feel: the very ‘Top 40’s’-feeling Magnetised differed considerably from the quite seductive Concrete, whilst the borderline-Texan sounding She Don’t Belong To Me was not quite like the soft Somehow. The variation of music tones gives the album a more exciting feel, unlike the (still loveable) Long Way Down, which kept a familiar theme of downcast or ‘humble’ (as I prefer to call it) tracks.
Both albums have been important to me when it comes to inspiration and the connecttion between a person (me) and music, as I’ve not quite been hit as hard in the feelings as much as I have by Tom Odell and his two albums. Only close second to Lana Del Rey.
Of course, these are all my opinions – there have been quite different reviews on Mr Odell’s music, though mine are of course much more late and will most likely be never seen. I, however, don’t believe that makes them any less important. Tom Odell, thank you for your music, and I’m ready for you to break my heart all over again with the next album.