Album: Iain Wilson
Holding On ‘Til Sunrise
A touching, heart-on-sleeve journey through the struggles of the mind.
The press release for this album describes it as “a window into Iain’s soul, as he addresses the emotional turmoil mental health can bring to an individual”. A bold theme for a debut album, and a complex and perhaps controversial topic - a fitting description for this release from the emerging Glasgow-based artist.
The opening track, ‘Faking Smiles’, kicks off with a slow, steady drum pattern, and a rhythmic acoustic guitar strum - the musical equivalent of a purposeful walk - the beginning of a journey. The arrangement, conventionally pop-rock, with a hint of Scottish folk, evokes a comforting, familiar territory, easing the listener in gently. This ode to tradition complements the verses, flourishing with imagery, recounting old memories. Iain’s voice rings out clearly from the get-go with an unapologetic vulnerability that made me instantly warm to him, and eager to hear more. His tone is bright in his higher register, with a richness and warmth in in his lower range (slightly akin to Ed Sheeran’s tonal palette). Retaining his Scottish accent adds extra authenticity, befitting a topic as personal as mental health. It’s refreshing, as it is hard to come by in a genre over-saturated with British artists using falsely adopted American accents.
The flowing chorus, ending in “Can you love me when my mind is overgrown?” sets up the album’s theme. Posing it as a question adds to its vulnerability - can we still be loved, despite our flaws and inward battles? Despite sometimes not loving or understanding ourselves?
“Reasons Why” leans towards the rock end of pop-rock, with an energetic guitar solo and drums, though with a rhythmic synth pattern throughout that adds a vintage pop feel, along with some trippy backing vocals and a sing-along-able, chorus-like chant near the end. Minus the synth, these elements remind me of ‘You And I’ from Scottish Celtic rock band Skerryvore (whose lead singer’s voice bears a similarity to Iain’s in accent and timbre); it has an air of uplifting Scottish folk. The lyrics are more melancholy: “I’m broken from the way I love…and now I know I’m better off alone”. Nonetheless, musically the track is upbeat, suggesting the imminent breakup will be a positive step.
Two piano-based tracks showcase Iain’s voice and heartfelt performance to its full potential:
‘I Know Now’ is a raw, heart-felt ballad, with poetic lyrics describing a broken relationship: “When we were young you were my love/forever silent with your aching heart”. Iain’s performance here is emotionally charged, but with a quiet, rueful acceptance and an underlying hint of a warm smile, suggesting he wishes the other person well, despite the pain they caused. This is most noticeable in the chorus, the emotion almost palpable as his voice seems to falter slightly in places. Being perfectly imperfect in a vocal is something I’ve come to appreciate myself over the years as a singer-songwriter. The slow, subby drum pattern throughout conjures the image of a heart, just managing to beat after it has broken.
‘Another Mind at War’ is the darkest-sounding track on the album, epitomizing the lowest low in a downward spiral. Moody, melancholic piano bass notes resonate in a tense, dramatic intro before the opening line: “From the outside this must all look like a dream…. But it’s not”. The timing of these two phrases is impeccable and speaks volumes. I interpret this as representing the frustration that some people with low mental health can have in gaining understanding and compassion from others in their lives who have no experience of such struggles. Though awareness of the impact of mental health is growing, the British dismissiveness of a “stiff upper lip” and “just cheer up!” hasn’t disappeared and can be disheartening. This stigma is particularly hard on men, urged by society to be strong and “man up!” To me, this piece, with its uplifting chorus of “Take your time/remember the sun will always rise again…I want to help you feel again” acts as a voice of reassurance and comfort. Having gone through mental health challenges in the past myself, I believe this, and the album could provide solace for those facing such times. The raw emotion comes through strongly in Iain’s voice. I found the way he performs the last line of the chorus particularly moving.
‘December Morning’ I would simply sum up as ‘joyful’. It bursts with energy and a sense of reckless abandon, discovery and freedom. Exuberant, spacey, 80s synths and a trippy audio sample running through it build to a huge peak near the end with a celebratory synth brass section and dramatic drum fills. The lyrics marry perfectly with the arrangement: “At peace and I’m not alone/I’ve found my soul…I’ve found me”.
‘I Want to Run’ begins with a catchy, gently pulsating synth riff that creates an instant hook – a piece of ear candy that glues the whole track together, along with polished pop production, reflecting his stated influence of fellow Glaswegian band CVRCHES. An arrangement full of tension and release, with dreamy vocal harmonies and off-beat percussion, suggests a state of flux, supporting the lyrics: “I wanna run…trust…fly…love” and “I’ve been waiting all my life”. These elements combined provoke an image of running in slow motion with a desire to climb out of the darkness and into the light.
The second track, ‘Light’, is in my opinion the weakest of an overall strong album. After the lush timbres of ‘Faking Smiles’ it jumps in jarringly with a distorted e-piano and guitars and an 80s funk bassline. The vocals are hidden under layers of processing and effects, resulting in an electronica sound that mars Iain’s strong voice and makes the lyrics difficult to distinguish. Then an unexpected, ethereal, cinematic section appears in the middle, giving a feeling of swooping into space, with trailing reverbs, trippy synth sounds and strings. On first listen I felt the track would either end after that, or lead on to something new, but the funk suddenly jumped back in. This transition didn’t flow well to me, and the mid-section, though beautiful, seemed out of place.
The penultimate track, ‘Still Standing’ has an 80s/late 70s sound, with epic drums, an impressive Floydian guitar solo and bright, analog-style synths. It is instantly uplifting, complementing the lyrics of determination and self-forgiveness: “People gonna get you down/Need to pick up your dreams and walk on…The world keeps spinning and I’m still standing alone”. Though the synths are a little overbearing, detracting from Iain’s vocals in the mix, they complement the track well. The overall sound is a shining bright light of positive energy. The ‘standing alone’ line is a statement of strength, and sets the scene for the final track, ‘Sunrise’.
‘Sunrise’ provides a ‘positive and brighter outcome’, as Iain intended. It acts, musically and lyrically, as a quietly hopeful cool-down after a long marathon – a moment of reflection and looking to the future. After an intense musical crescendo and a determination for change in the previous track, ‘Sunrise’ takes a step back and encourages a coming together and support of one another: “Stand as one…Just be there for me/And I’ll be there for you”.
The sound of lapping waves and relaxed acoustic guitar conjure an image of Iain singing to the sea, content to be alone, whilst simultaneously offering reassurance to others. His voice shines in this track, high, clear notes seeming to echo into the ocean breeze.
Overall, if you enjoy 80s influenced pop-rock, with the intimate, communicative lyrics of a singer-songwriter, I recommend this album. The theme of mental health is not a straight-forward one, and Iain has done it justice.
This record takes you on a musical and lyrical journey, with an uplifting narrative. This makes for an enjoyable and thought-provoking listen, acknowledging and bringing awareness to darker times, before leading to an overall glass-half-full message, offering strength, support, and hope.
