More about: Ben Howard

Jumping onto the UK folk-pop scene in 2011, Ben Howard made a name for himself right away, snagging a BRIT and five-star reviews for his debut, Every Kingdom. In the age of the hipster, this album was gospel. 

Almost ten years on from that record and Howard’s sound is almost unrecognisable. Delving into deep experimentation, and allowing himself to create music for him and him alone, Howard has established himself as one of the best alt-folk prodigies of the last decade.

However, with so many great tunes in his catalogue, more than a few have slipped through the metaphorical cracks. We’ve taken it upon ourselves to look behind the cushions of Ben Howard’s discography and dig out eleven of his most underrated gems.

'Sister'

Released as one of three B sides from Howard’s 2018 album, Noonday Dream, ‘Sister’ is a lo-fi monologue, more akin to art than song. The monotone, layered vocals, paired with the drowsy tones of a heavy, hazey synth, this song is sonic escapism. Its lack of instrumentation is an oddity for Howard, yet it works so well.  Its resonant backing collides perfectly with Howard’s airy vocals, making it a must-listen for anyone who wants to look past Howard’s melancholic guitar, and deeper into his experimental side.

'Figure 8' (Cover)

Although it’s not strictly an official release, it would be criminal to not include this 2021 cover on this list. Here Ben tackles Ellie Gouldings ‘Figure 8’ better than Goulding herself does, and fully demonstrates Howard’s uncanny ability to reinvent music. Splicing in lyrics from Little Dragons ‘Twice’ between eye-watering acoustic plucking, the brash sounds of rutes on cymbals and an almost invisible, intricate bassline, Howard and his band made this song their own - and then some. 

'Murmurations'

The closing track of 2018’s Noonday Dream is a reflective and noisy end to some of Howard’s finest work. Obscure instruments twang heavily in this song's frankly huge soundscape. Amalgamations of synths and strings clash together, whilst Howard sits in between the beautiful chaos.

'Follaton Wood'

Ah, The Old Pine E.P., what a classic. Released a few months before Howards debut album, this EP exudes nostalgia. Tackling a horrid subject matter and applying a fairly upbeat backing, ‘Follaton Wood’ is Howard’s version of ‘Girlfriend in a Coma’. The subject of the song is an untimely suicide, and mournful hums intertwine with a chirpy acoustic backing. Nevertheless, the end of the song is bloody devastating. “You would’ve laughed your heart out” echoes Howard as the song draws to a close; there’s pain in his voice and you wouldn't be blamed for shedding a few tears.

'Hot Heavy Summer'

Another B-side from Noonday Dream, ‘Hot Heavy Summer’ oozes what you’d expect - a groggy ode to summers gone by, with superb backing vocals offered from the magnificent Sylvan Esso, I’m surprised it didn’t make it onto the album. The guitars themselves fill out the song perfectly, and are the musical embodiments of that 4 o’clock sunshine found only in the heart of summer: they beat down on the song, leaving no corner in shade.

'To Be Alone'

The third track off Howard's first delve into experimentalism, The Burgh Island E.P., is a gutteral taste of what we could expect from him in the future. A slow start erupts into a delicate chorus, doused with lingering dread. In this track, the drums take charge, both powerful and submissive, and act as the perfect commander for this track's mournful cries.

'Rivers In Your Mouth'

Although arguably his best album so far, I Forget Where We Were still has some fantastic, but overlooked tracks. ‘Rivers In Your Mouth’ being the prime example. It was on this album that Howard fully found himself and found what many have come to know as his integral sound. On ‘Rivers In Your Mouth’, Howard utilises water as a metaphor for speech, and this idea of liquidity is found in almost every instrument. The guitars ebb and flow between high-pitched twinges to low and steady, stabilising moments. The drums take a back seat before attaching themselves to the ferocious guitar solo, shattering the previously dulcet verses, and then disappearing into the harrowing weeps of a fading guitar.

'Burgh Island'

Another from, funnily enough, The Burgh Island E.P, this title track is perhaps one of the most moving numbers in Howard's discography. Featuring the wonderful Monica Heldal, it’s a harrowingly slow piece of music. Beginning slow and steady, with the guitar mimicking the flow of Howard’s vocals, a subtle layering finds shelter behind the vocals, only noticeable when searching for it and then, as Heldal’s vocals begin, the song alters itself, opting for lighter tones and delicate drum beats. At eight minutes long, it’s a behemoth of a tune, but every second brings something new and moving, leaving nothing obsolete.

'Move Like You Want' (Live)

Taken from the extended version of Every Kingdom, the live version of ‘Move Like You Want’ is phenomenal. It encaptures all that is fun about live performances, down to the audience interaction, the danceability and, of course, the chemistry between Ben and his band: it’s perfect. It’s been my go to when I’ve found myself wallowing in those no-gig blues as it never fails to bring out a smile - try not to tap your feet, I dare you.

'The Defeat'

My favourite, and the least appreciated track from Noonday Dream ‘The Defeat’ is, simply put, banging. How Ben Howard seemingly bends his guitar to do anything he wills it to do we’ll never know, but it really is a treat for the ears. Again, Howard utilizes some indistinct synths to create a song with a real brooding atmosphere, where every note conceals a different emotion, and every lyric asks another question.

'Depth Over Distance'

If I ever want a big cry, I know this song is my best bet. Opening with a doleful hum, and the low murmur of distant strings, this woeful number offers a sense of little hope. In the track's final third however, Howard gets angry. “I may be foolish to fall as I do” he bellows over the tune’s plucked progression. This display of raw emotion from Howard cements this song as one of his best ever, a true testament to what he’s capable of and how anything can be sculpted to his musical will.

The new Ben Howard album Collections From The Whiteout arrives 26 March via Island Records.

More about: Ben Howard