RGM Reviews “Clouds & Silver Linings”: https://bit.ly/4xdIeff
Weaving hope in folk, country and Americana is Martin & The New Songrise’s new twelve-track album “Clouds & Silver Linings”. A dynamic album full of contrasts, but warmly wrapped in comforting Danish folk.
Martin Høybye (singer, songwriter and guitar player) brings us a heartwarming journey through life’s ups and downs, and draws the ‘silver linings’ himself with authentic tunes and stories.
In coordination with a wonderful team of musicians behind the project, “Clouds & Silver Linings” explores all of life’s contrasts in Martin’s own interpretation of the genre, while also signalling the beginning of Martin & The New Songrise’s larger musical journey.
A subtle start to the album, “High Tide” offers a sense of solitude with the slow drums and minimal instrumentation, leaving us with only piano chords and Martin’s voice, prepping us emotionally with reassurance, that everything is going to be okay ‘when your love would carry me’
“When Heaven Fell” continues the slow, featuring intimate sound but with a little bit more flair with the sole strums and backing rhythmic guitars. Again Martin’s voice hugs you warmly, the stripping of fancy percussion really makes him shine. It is a bittersweet tune about regrets, the what ifs and the miserable present.
“Bad Thing Go” marks the country sound of the album, with the switch up in Martin’s soft, tender delivery into rowdy, tough growlings that adds that extra layer of flavour to the track. The rich harmonised chorus and the light drums makes up this classic love song with a kick that is irresistibly groovy.
We come back onto the ground with the laid-back folk with “Keys to the Peace”. A return to the old-school lovey dovey tunes, it is another bittersweet song but rather than agony; it talks about the sorrows of upholding the mundane life.
From lines like ‘I’m just a bit overworked’, ‘sometimes it ain’t right when we bottle up inside’, Keys to the Peace is a confession of a tired man, full of grief and yearning for peace.
It switches up into the rowdy southern accents and the upbeat guitars again with “De-bluesify me” the lyrics however, says otherwise. ‘I want you to De-bluesify me’ — it is about a man’s struggle to grip with reality and wishes to relive their youth, perfectly told in the playful swing of country folk.
The first song to feature a solid bass with driving drums and my favorite on the album is “Kicks”. The revolving bassline accompanied monologue-style singing from Martin just gives the track that bare, raw sound that it almost feels like you are listening to a story being written line by line.
“Chasing Butterflies” starts with skewering strums and the isolated vocals from Martin, unfiltered. As his voice almost comes in bursts, contrasting the softly-played guitar, the listener is invited into this comforting four minutes of solitude with Chasing Butterflies.
Reading into the lyrics, I can’t lie that this track did strum some of my heart strings as I sway to Martin’s mighty vocals.
“Fades to Black” is another track with a fully-fletched bassline and one of the few with richer instrumentation, again, despite the uplifting rhythms and driving drums, Martin sings yearningly. Longing for “something bigger than me to believe in” before everything ends.
“Forgiveness” is Martin’s ultimate commitment to the country sound, and he absolutely nailed it. A song about having good faith and giving forgiveness, sang in true country nature with badass fretless guitars.
Another slower but hearty tune. “Leaving Song (Lost My Faith)” sings about a regretful relationship, illustrated in mundane moments in life. It’s essentially a folk exit song but made easy-listening and almost leaves a bitter aftertaste.
Martin picked the fretless up again, however this time bringing it along with you as you set foot on a brand new journey ahead. “Like Your Mama did” is a fun one, telling the ‘girl’ to leave this ‘town’ altogether.
He sings ‘Girl, something’s gonna have to give for you to learn how to live’ — it’s like listening to the classic wise-old-man that is almost present in southern storytelling.
The final track “Talking to God”, is a subtly grim exit to the album, drenched in minor chords and mumbly delivery from Martin, “Talking to God” is another monologue-type folk song that explores internal struggles and questioning.
The bluey progressions to escalate into a blend of wailing, stumping percussion and distanced Hammond organ leaves a lingering sorrow that wraps around “Clouds & Silver Linings” as it comes to an end.
“Clouds & Silver Linings” is a hearty album, the twelve tracks may not be the most striking songs, but they all come together beautifully to move you within, while also injecting that strand of hope into our lives.
As Martin noted in his interview with us, “Clouds & Silver Linings” is a collection of songs that are both deeply personal but universally relatable.
I would argue that this has been achieved, both contextually and musically — a lot of care has been put into making this album, but what really makes it alive is the lived experiences that Martin sprinkled through the tracks.
With “Clouds & Silver Linings”, Martin has shown us that good music is written with emotional honesty, craftsmanship, and a real passion for sharing it with listeners.