More about: MF Tomlinson

Brisbane-born; London living; acid-folk pioneer; chamber-pop genius; very talented and quite cool. What do these words have in common you may ask? Well, they can all be used to describe the wonderful MF Tomlinson, who manages to be all of this and more on his glorious debut Strange Time.

Upon being thrust into a neverending lockdown, Tomlinson decided to use this surprise break from touring to get to know himself again. After over a decade on the road touring with numerous other bands, he hadn't really had a chance to delve into himself properly, nor a chance to tackle his writing in a different way. So, by putting this free time to good use, he began to write Strange Time, focusing on his ability to sculpt elaborate stories, and taking himself back to basics, he found himself, alone in his room with an acoustic guitar, writing songs. Something he hadn’t done himself since he was a teenager. By returning back to his roots, he manages to create a first folk album that feels like the fifth in an established folk artist's discography, full of life, wonderful instrumentation, and deeply beautiful lyricism, Strange Time is a triumph.

Dutiful and dulcet, the title track opens up the album, molding together folk and smooth, smooth jazz (courtesy of an absolutely wonderful saxophone solo), it’s a wonderful welcome into the album, and into this new side to Tomlinson. Each song is delicately and precisely arranged, with ‘Strange Time’ being no exception. In this track, Tomlinson captures the beginning of lockdown, portraying positives and negatives in a summery glow, he sings of his pastimes with poignancy, “The neighbours aren't happy but then again who’s really happy?” and tackles lockdown with a unique pleasantness, magnified by the simply phenomenal instrumentation. The aforementioned saxophone sits on the sidelines before springing out to transform the song into a particularly groovy number, whilst subtle woodwork adds an extra element of unity to the tune through its perplexing simplicity.

Replicating its namesake, ‘Spring’ begins with a tranquil birdsong, before becoming an ethereal, multilayered sonic escape. Discussing the Earth being reclaimed, Tomlinson expresses his joy that perhaps the stillness of people would encourage the animals to reclaim their Earth, “It was the happiest feeling I’d known for days / To know that when we are gone, the world belongs to itself again.” Tomlinson has the uncanny ability to capture optimism, finding the bright in even the bleakest of places in a way that is truly welcomed.

On ‘Them Apples’, things get more lively. This seven-minute corker see’s guest vocalist Connie Chatwin sing sonic clickbait, headlines that make you want to know more, no matter how morbid. It’s the musical embodiment of a doom scroll...who knew that would sound this good? Instrumentally, the track is completed by deliciously bluesy guitar and a frisson inducing organ that adds the perfect dose of groove to this tune.

The album closes with the chirpy ‘Thursday, 8pm’. Ending the album on a light note, this track details the hopefulness of community spirit, amalgamating on what could happen if humans banded together. And with the jaunty cry of a tambourine and a few electric strings, the album draws to a close. 

Strange Time manages to capture the turbulence of the last 12 months and give it a distinctly buoyant spin. In a gleefully charming way, Tomlinson has stepped into the path of a new and fresh direction, giving us hopeful folk, for soon to be hopeful times.

Strange Time arrives 9 April 

More about: MF Tomlinson