Rich and delicate, Oliver Spalding captivates on his debut album ‘Novemberism.’ Atwood Magazine spoke with the UK-based artist on what went into its making.

Written in collaboration by junior editor Adrian Vargas and editor-in-chief Mitch Mosk.

Oliver Spalding is one of the music industry’s most charming oxymorons. His sound is fragile and tender, a style that welcomes listeners in with a warm embrace. That fragility is then paired with mighty and compelling musicality that creates evocative pieces of work that one would be hard-pressed not to be moved by. Spalding takes this talent and showcases it beautifully on his debut album Novemberism, and Atwood Magazine is proud to be premiering it today!

The UK-based artist is no stranger to music, often being surrounded by it since his early childhood. The music that circulated around him seemingly rubbed off on him, now possessing a powerful sense of musicianship that allows him to create bustling and raw soundscapes. He then takes it further with his lyrical prowess, crafting worlds that listeners can fall into with ease—never wanting to leave once embraced by it. Spalding utilizes these on Novemberism, allowing it to be one of the sharpest, most powerful debuts for any artist.

The album opens with “Athamé,” a track dripping in fervent sentiment that elicits a range of emotions upon listeners. With synthesizers expertly used to glitch out Spalding’s vocals, a new dynamic layer is wrapped around the song, giving it a distinct sonic flair. At the track’s end, an energetic crescendo of instrumentation occurs, leading into the rest of the album and setting the tone for what is to come. “Her Crescent” arrives soon after with subtle melodies in the foreground that still possess intoxicating abilities. Brass instruments find a home here, adding touches of serenity that are only accentuated by the keyboard melody present at its close.

Tracks like “A Stop” provide stunning visual paintings through its visceral storytelling with lyrics like “Call me your best behaviour, intrigue, you need a saviour. I’m not it, I wanted to be. I owe you closure.” Snapshots of this story unfold in real-time; a moving piece of sonic exploration that wafts gently but leaves a lasting impression. The piano-laden track “Golden” does much with very little. The melody is simple yet effective, giving the track an airy feeling that highlights the vocal excellence Spalding possesses. Gorgeous string arrangements enter the mix that adds an additional layer for listeners to fall in love with, and it flows with grace with the vocals and piano to make this track truly memorable.

The album finishes with “Everglades,” and it’s a magnanimous one. A few seconds of silence are broken away with boisterous keys but are then quickly subdued, giving way to a subtle guitar melody that backs Spalding as he begins to sing. “Heaven, call for me. I don’t wanna find out that I’m asleep,” he croons while the bustling instrumentation backs him up. It’s a ballad worthy of praise, and a powerful closing statement on a celestial body of music.

Oliver Spalding held nothing back with his debut, putting Novemberism as of 2019’s finest albums. Atwood Magazine had the opportunity to chat with Spalding on the background of the album and what it means to him. Get all the info in our exclusive interview!