Is there a more exciting artist in Britain today than Arlo Parks?
In the shitstorm that was 2020, the Hammersmith born singer-songwriter proved to be a light in the darkness as her beautifully intimate music resonated deeply with the socially deprived.
Now as we enter 2021 (which shows no signs of being any less shitty) Parks is poised to be the musical hero of the moment with the release of her debut album ‘Collapsed in Sunbeams’.
A string of successful EPs and singles over the last two years have led Parks to this point and have seen her cultivate a unique brand of poetic songwriting.
2019s ‘Sophie’ EP was an indicator of what was to come from the 20-year-old while Easy Life collaboration ‘Sangria’ showcased her infectious voice emphatically in a fun lo-fi pop setting – further adding to the hype.
Parks’ work in the last year has only gotten more impressive. The slow release of (consistently impressive) singles from ‘Collapsed in Sunbeams’ has seen her garner serious radio attention from both BBC Radio 1 and 6 Music, as well as our Best Lockdown Cover 2020 winner and ICM Ones To Watch 2021 artist.
On the front of the vinyl release of ‘Collapsed in Sunbeams’ sits the usual sticker featuring a selection of quotes from journalists praising the record.
One such quote that stands out is ‘an incredible poet’ from singer-songwriter and soon to be Grammy winner Phoebe Bridgers.
Bridgers promise of incredible poetry is a lofty one – but one that Parks answers with the very first track.
The opener and title track is indeed a poem – delivered softly over fingerpicked acoustic guitar.
‘Collapsed in sunbeams, stretched out open to beauty however brief or violent – I see myself ablaze with joy, sleepy-eyed, feeding your cat or slicing artichoke hearts’.
The track sets the tone beautifully for the rest of the record by ending with ‘You shouldn’t be afraid to cry in front of me. I promise.’
It’s at this point the record bursts into life with the gorgeous ‘Hurt’ – one of the singles that proceeded the album.
Parks rhythmic delivery on the track combined with her usual lyrical flair paints an image of pain and struggle, albeit one that will be overcome.
The themes established here flow throughout the record and show why Parks’ music has resonated so strongly in the current climate.
Her lyrics often skirt around the dark and desperate while always finding a way to remain tinged with optimism – a powerful combination that fits perfectly into the coronavirus riddled world in which we now find ourselves.
Third track ‘Too Good’ exercises demons over a lover who is ‘too good to be true’ to a grooving combination of bass and drums that showcases Parks astute observational lyrics.
After the comforting ‘Hope’ whose chorus could be an anthem for the generation acutely aware of its mental health, ‘you’re not alone like you think you are’, come three big singles.
‘Caroline’, ‘Black Dog’ and ‘Green Eyes’ make up the meat of the album and are each brilliant in their own way.
‘Black Dog’ in particular is utterly heartbreaking and was my favourite song released last year.
These singles condense the best of Arlo Parks down into gorgeous three-minute pop songs – when you consider her age the strength of these tracks is remarkable – bustling with soft melodies, clean basslines and verses dripping in detail, her talent is on show for all to see.
Eighth track ‘Just Go’ was the most surprising on the record and perhaps one of my favourites because of it. Parks sounds like she’s leading the coolest lounge band you’ve never heard of in an unmarked club in the depths of London – and she’s great at it. The song has a tantalising quality enhanced by a simple four-note piano melody that seeps in and out to great effect.
As the album winds down the tracks ‘For Violet’ and ‘Bluish’ perhaps fail to make as strong of an impression as some of the albums earlier efforts – but they do continue to add to the general alluring mood of the record.
However, ‘Eugene’ packs a real punch with accusations of betrayal and abandonment punctuated by distinctly angry lyrics that further demonstrate just how much range Parks has at her disposal.
Closer ‘Portra 400’ felt more like end credits than a grand finale – but still fits snuggly within the world Parks has meticulously created on ‘Collapsed in Sunbeams’.
Having spent some time with the record I’ve found myself growing increasingly attached to it.
This really is an incredibly sophisticated piece of work for an artist so young and so early into her career.
As 2021 stretches out bleakly in front of us I for one feel slightly more optimistic knowing I’ll have ‘Collapsed in Sunbeams’ to face it with.
Featured press image by Alex Kurunis
