Nate Amos, the creative force behind the acclaimed Brooklyn duo Water From Your Eyes, has turned his attention to his long-running solo venture. His latest release under the moniker This Is Lorelei is a compilation titled 'Holo Boy', which sees him re-record and repackage songs from his extensive Bandcamp archive.
From Hypermodern Pop to Honeyed Melancholy
While Amos is celebrated for the wry, genre-hopping chaos of Water From Your Eyes, This Is Lorelei presents a distinctly different side. The tracks on 'Holo Boy' are largely gentle, acoustic folk-rock numbers steeped in a sense of honeyed melancholy. They are often brief and lyrically elusive, touching on themes of regret, disappointment, and a subtle darkness.
This shift is a deliberate departure from his work with Water From Your Eyes, which finally broke through in 2023 after seven years of effort. Amos's solo project has been active even longer, only gaining significant traction with the belated debut album 'Box for Buddy, Box for Star' last year. 'Holo Boy' capitalises directly on that newfound momentum.
A Compilation of Pleasingly Diverting Details
Stylistically, Amos's most obvious counterpart in this mode is indie-rock figurehead Alex G. While he may not match that artist's lyrical directness, Amos demonstrates a similar talent for embedding compelling, diverting details within his compositions. The collection is punctuated by moments like the chunky pop-punk bassline on 'Name the Band' or the bright, twanging guitar that colours 'Dreams Away'.
Lyrically, the songs maintain a vague, narrative quality, with Amos hinting at inner turmoil, as on 'But You Just Woke Me Up' where he warns, "you don't want to know what my dreams are about." The overall mood is one of reflective, sweet sadness.
An Enjoyable and Justified Repackaging
The spirit of Water From Your Eyes makes a notable appearance on the outlier track 'Mouth Man'. Here, the album briefly erupts into an eclectic rush of dead-eyed sprechgesang and awkward synth blasts over a four-on-the-floor beat, serving as a reminder of Amos's range.
While this collection of acoustic fare may not reach the same compelling heights as his primary band's output, it is undeniably enjoyable and cohesive. The quality of the songwriting and the distinctive atmosphere Amos creates fully justify this opportunistic dive into his back catalogue. For fans of the US alternative scene, 'Holo Boy' offers an intimate and rewarding glimpse into another facet of a rapidly rising talent.
