Arlo Parks
Collapsed In Sunbeams
Transgressive
Listen Below
Since 2018, when she began uploading demos to BBC Music Introducing…, Arlo Parks’ star has been gradually in the ascendant. A debut single in November 2018 was followed by an EP, Super Sad Generation, in April 2019 and a tour supporting Jordan Rakei rounded out the year. Gaining traction with key outlets such as the BBC and NME has contributed to an ever-growing reputation as she releases her debut album Collapsed In Sunbeams.
This upward trajectory is bound to continue, such is the delight contained within the 20-year-old’s first album—she puts it best herself on album closer “Portra 400,” when she sings “making rainbows out of something painful.” The world’s woes may hang heavy on her, but she wears them with such style and panache.
That world of woes is brought to life by a keen eye for details in the lyrical content. On “Hope,” she writes that the besieged protagonist is “reminiscing ‘bout the apricots and blunts on Peckham Rye,” while on the story of a couple arguing, she describes the man’s face as “strawberry cheeks flushed with defeated rage.” These intriguing details pull the listener ever further into her world and make the already affecting songs even more powerful as a result.
Musically, it offers (for the most part) a warm embrace to console and contrast with the tales of disconnect and broken heartedness. Mid-tempo backbeats abound with some joyous rhythm guitar phrases and the odd curio (like the swirling organ on “Too Good”) thrown in for good measure. It’s Parks’ vocals that set it all off though. Her hushed, soothing tones manage to communicate both delicacy and strength, ensuring that the hardships described don’t feel overwhelming; instead her voice brings great comfort.
On “Caroline,” there is more than a hint of Lianne La Havas’ triumphant album of last year with sweet luxurious guitar lines to accompany the vignette of a public relationship breakdown, while on “For Violet,” there are signs of one of her greatest inspirations.
Her autobiographical press release lists Portishead as one of her primary influences and “For Violet” opens with the reverb, crackle and loping trip hop beat so easily associated with the Bristol group. Ultimately, despite the hopelessness of the lyrics, it is lent a hopeful sheen due to her warm tones—a characteristic that crops up time and time again.
Standout track “Eugene” is another example of this uncanny ability. A story of unrequited love for a friend made worse by being witness to the titular character’s disdain for the object of her affections, it offers up frustration to the accompaniment of Parks’ cooing beauty of a voice. Additionally, there is further evidence of her eye for detail in her lyrics when she sings of her love “smiling with (her) teeth.”
There is compassion on show here too—on “Green Eyes,” a burgeoning love affair is thwarted by her partner’s reluctance to publicly display affection. Instead of blaming her ex, she instead lays the blame firmly with the parents’ and society’s bigoted views of the world. Despite this disappointment and heartbreak, it is met with a sense of world-weariness rather than bitterness or anger—a wise old head patently hangs on her young shoulders.
This is a remarkably mature debut album for a twenty-year-old, filled with poetic flourishes, luxurious soul-pop stylings and Parks’ velvety, characterful voice. It offers not so much a glimpse at her potential, but rather a startling affirmation of what she is capable of at such an early point in her career, and it will deserve every plaudit it will undoubtedly receive.
Notable Tracks: “Black Dog” | “Caroline” | “Eugene” | “Green Eyes”
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