Newton Faulkner’s latest chapter in his career is his most authentic yet. He is finally relishing in being exactly who he wants to be. A natural born artist, he has belonged in the room from day one. He has also adapted to a constantly changing musical landscape; from his debut to his 2009 sophomore effort Rebuilt by Humans, his second UK #1 album Write It on Your Skin, Studio Zoo and beyond, Faulkner has never rested on his laurels and always strived for more.
However, that door he first entered – where control over his own music, the highs and lows of fame and critical categorisation all came at a cost – is now a remnant of the past. The door he walks through now is the one that was made for him.
This is not just a re-introduction. It is a fresh start.
His eighth album Octopus blooms with joy. It’s been more than five years in the making, and is the longest gap Faulkner’s had between records, giving him the space and time to unpack the full scope of his artistry. It bears all the hallmarks of an artist entering a new era. This is most apparent in the album’s visceral lead single ‘Alright, Alright, Alright’. Loud, energetic, f ierce… all words you wouldn’t usually associate with Faulkner – but now you should. Interestingly, the track is harnessed not by guitar, but by a Hofner Violin Bass fizzing with distortion. Rather than his trusted acoustic guitar, it was this instrument which unlocked a different approach to songwriting for Faulkner across the album. Like rotating parts of a Rubik’s cube, new possibilities opened with every turn.
