Nick Nicely is an underground experimental artist making music for several years now. His latest album is entitled On a Brockley Afternoon. His career started off charting with Acid House hits, later being signed to labels like EMI, and getting to open for bigger acts in the similar vein, like Ariel Pink and John Maus. He is an English native, whose heart and soul is in psychedelic electronic dance music. His biggest moment in the spotlight was his 1982 single “Hilly Fields,” a song that directly influenced XTC. Throughout the decades, Nick has remained a low-key but influential figure in the field of alternative music. He used beat sampling before Grandmaster Flash, for example.
As his name would indicate, Nick comes across as a nice fella. The kind of man you would trust your kids with on a spontaneous weekend getaway. Looking at his background, his intentions are pure, and he comes from a genuine place. His musical style displays a crystal-clear kaleidoscope of influences; electronic music from the 1990s, 1960s psychedelia like the Beatles, Zombies, and Monkees, shoegaze, and some vaporwave influences. His lyricism and use of language is also well-intentioned. He’ll sing about unconventional topics and string words together in original ways.
The opening song is entitled “Mike Hall is Coming” which hits the listener with a massive sonic ambience of electronic bliss. Nick’s muted vocals enter the mix, singing lyrics alongside occasional guitar passages.
Next “Miniature Day” starts off with synth passages accentuated with a drum machine and guitar loop. The groove it introduces is infectious. Then Nick’s voice enters in, singing, “Living inside a shoebox in a drawer. Riding the subway to your store.” I love these cryptic lyrics. It fits perfectly with the music, and the song continues to shift as it goes on with beat switches and sections of overwhelming guitar noise. Overall, this tune was excellent, catchy and intellectually stimulating.
The third track is an instrumental that adds jazz elements to Nick’s sonic ensembles. It is extremely pleasant and easy to listen to, and it makes me wonder why Nick’s status is not elevated beyond what it currently is, to the likes of Ariel Pink or MGMT. He’s certainly as talented as modern psych acts, and just as listenable to the mainstream public, so it is confusing how he is not more recognized.
The title track is another Thanksgiving feast for the ears. Nick sings about weather and nature, describing the “Brockley Afternoon” with seagulls and robbing treasure stores. It creates an atmosphere in your mind of dusty, grimy pirates landing on a beach of some exotic island and searching for riches. There is a guitar lick toward the end that is similar to the Smiths, jangly pop sweetness. Despite styles that might feel like they’re colliding, Nick’s style is coherent and pop music at its core. It’s all immaculately produced, every instrument including sounds clear and precise.
Other standouts on the album include “I’ve Gone Jackson Pollock” and “Death of Desire,” two strong closers for this strong album. I’ve Gone Jackson Pollock has an excellent title already, prompting theories, and then it kickstarts with pounding synths. His beautiful voice croons: “Walking around in central town, the day it all went down,” in a melancholic texture.
Death of Desire subdues us with an acoustic guitar and soulful gargled vocals, singing of warriors and fire. It is a cinematic song, like the whole album, functioning as a film with visuals. Overall, this album is a must-listen and a great surprise for any fan of innovative psychedelic music.
Social Media Links:
https://nicknicely1.bandcamp.com
