Hey, “We Need To Talk”. This new Matt Maltese LP is “Looking” to be a shining star on the alternative map. “You Deserve an Oscar” if you can pretend not to like this album.
Now, if any of these puns just made you cringe so much that your hairs stood up, then this album may not be for you. However, if you like fun lyrics and a whole lot of piano fills like I do, then boy do I have the album for you. London based native Matt Maltese is best known for his single “As The World Caves In”, a piano power ballad about Theresa May and Donald Trump “getting jiggy with it” whilst they end the world through nuclear holocaust (if this isn’t an indication as to what I mean by “fun”, I don’t know what is). Before the success of this internet phenomena of a song, Matt Maltese was known in the alternative scene as (and still is) one of the leading voices of piano motivated alt-pop today. This title is only strengthened by his newest project, “Good Morning It’s Now Tomorrow”. Layers upon layers of acoustic and piano choruses, mixed with Maltese’s pure alternative vocals and ear for comfy synth sounds, and a lot of creative freedom allowed by Nettwerk Records make for 13 sweet, and sometimes silly alternative piano ballads that are sure to leave you wondering where Maltese gets his ideas for some of his zany lyrics.
We are appropriately introduced to this album with a sweet “Good Morning”, a track that sounds the closest to a “usual” alt-pop song that you can find on this album, with Maltese’s endearing vocals asking us to have a healthier handling on our demons. The next track “Shoe” is the album’s magnum opus when it comes to Maltese’s whimsical writing style. Maltese proclaims “you’re my right shoe; I’m your left shoe; we stand together…” with fascinating falsetto harmonies very similar to those of the Canadian outfit of Montreal. “Everyone Adores You (at least I do)”, the next song in the slot, is just as much intriguing musically as it is shallow lyrically, as the title is sung exactly how it is read. The decision to go for multiple minor melodic lines sounds bold, but it lends itself perfectly to the dreamy, ethereal aesthetic of the track, even if the lyrics are a bit numbing. The piano solo in this song is also absolutely exquisite. Matt’s interesting lyrics are in the limelight again with “You Deserve an Oscar”, telling the listener that they deserve an Oscar for being able to endure the pain of existing day to day. You need more silly ballads for the soul? Well, Maltese has you covered, bringing the silliness to another level with “Lobster”, a simple ballad about how easy life would be as a red lobster. There is nothing more I can say about this track, other than it’s just as sad as it is fun. We slow things down a bit with a sustained acoustic guitar flair in “Outrun the Bear”, which creates a rustic temperance in the track that could be found at any other time in this century and still be timeless. Maltese pushes the envelope with the next song “1000 Tears Deep”, claiming “welcome to the fellowship of sadness” where “we cry all the time”. The lyrics may be a little too disingenuous for some, but they have just enough character for others. For those who don’t care either way, the production on this track sells, with the blend of synth and acoustic feeling perfectly natural rather than out of place, as it can on similar albums. Matt Maltese then brings out the piano in all of its wooden glory in “We Need To Talk”, a ballad composed entirely of Maltese’s vocals and his somber keyboard. This song is the most simplistic, yet piercing on the project, and my personal favorite. The next track, “Mystery” is very similar to the one before it, but with a heavier emphasis on the somber guitar lines rather than the piano, making for a sly and sweet transition in instrumentation. Maltese ponders the tropes of modern dating with featured artist Bedouine in “Oldest Trick in The Book”. Bedouine’s featured falsetto harmony on the ballad adds just enough flavor to push Matt’s signature orchestral-like swells just that higher in quality, sending a few chills down your spine on the way up there. “Looking” is like many of the other ballads on the project, but distinguishes itself with a slightly out of tune, old church piano sound that spices up the usual piano ballad formula on this attempt. Matt also proclaims he would like to be a frog in this song, so take that for what you will. The second to last entry on the track listing, “Rat Race”, falls back onto the synth sounds found elsewhere on the album and a heavy drum beat, pulling the farthest away from the piano ballad formula Maltese is known for. Finally, to close out the project, we return to the vocal piano ballad with “Krakow”, hitting all the right beats and then some when compared to the albums last piano ballad, feeling somewhat like Maltese signing the bottom of the album like a letter.
Overall, this album is Matt Maltese doing what he does best, and if you were a fan of his before, or even just a fan of piano oriented alternative and pop, then this album will no doubt resonate with you. Again, when it comes to lyricism, Matt Maltese’s style is not for everyone, but if you are a fan of fun, wacky lyrics, or can simply get over that hump, about a baker’s dozen of finely written alternative ballads await you.
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