Few words have lost their meaning more than that of “liked” (with the exception of “literally”). Social media opened up etymology in ways unprecedented in human history, with Facebook turning likes into a communal currency that spans languages. As a measure of quality, it borders onto ‘emperors new clothes’ territory, being about as valuable as the split second it takes someone to raise, then depress their thumb. It’s a good thing then, that Sam Wickens never cared much for how much his songs were liked. He cared for respect, and that’s a whole other ball game.
Of the few times I’ve spoken to or read about Wickens, he has always echoed the same sentiment; to create “a family of songs,” each with their own personality and storyline, some experiencing crippling lows with others rising in phoenixean fashion. In each carefully crafted song, a kernel of personality would be instilled before it was set free into the wilderness. Different from its siblings but inexplicably similar, joined at the hip by an intangible bond that would inevitably bring them back together. For to create an album that can be viewed from a single point is inefficient to Wickens, who has designed his inaugural release to be a body of work, more similar to a high fantasy novel than a collection of singles. It’s a lofty goal, particularly for a debut album, but fate favours those who risk (or in the mortal words of Meek Mill, “Scared money don’t make no money”), and Wickens is intent on reaping the rewards with his first album, ‘All I’ve Seen.’
Even a superficial scan of ‘All I’ve Seen’ reveals an album with a vital spirit, enriched by a deep well of intense imagery. Even the title suggests an all-encompassing view is taken when composing this piece, that there is a lifetimes worth of context contained within its ten songs. Meticulous and calculated to the point it feels natural, almost like a nervous system, the debut effort of Wickens tackles life in all of its forms. Audibly huge, there is a real sense of masochistic pleasure as you battle against the waves of sound that mount against you, taking the punishment and pleasure of each tale in equal measure as you are battered by the sheer rustic authenticity of Wickens tracks. A hypnotic blend of folk, soul, blues, electronica, indie and alternative influences are all foundational building blocks upon which Wickens builds his sonic labyrinth, and there have been few releases this year more fun to lose yourself in.
Lyrically, the singer has a knack for instilling his songs with symbolism that ranges from the aestival to the eerie, in a woozy, stream of consciousness manner that defies convention while luring you in all the same. Telling tales of sorrow and joy, heartache and lust, they seem too descriptive not to be rooted in reality. The therapeutic manner in which Wickens coveys the emotional depth of each track lends itself more to the listener than the creator; investment is inevitable and the desire to see out your expedition to its end deepens with each metaphor.
Wickens propensity for poetic verbals is matched only by his vocals. Tanned and leathery with a delicate grace that inhabits a land that seems both Johnny Cash and Eric Whitacre, these two factors combine to become the one unifying thread that ties each track together. The form a communal heartbeat that prevents an overload of wanderlust and gives the album some much-needed direction. From the folk-tronic quake of ‘Falling,’ the bog gothic architecture of ‘Ravens & Crows’ and the subtle lure of ‘Ice,’ the vocal presence of Wickens remains a constant safe harbour from the emotional storms. There is often a chance to meander from the beaten path, struck as you will be by the strobe-like flash of a pre-recording conversation, an ancient saw blade biting into wood or a windy electronic ping. And when you yearn to continue, Wickens is a point of reference with which you can return to at all times, a guiding light on your journey.
Indeed, a pilgrimage seems the best way to describe listening to the aural landscape of ‘All I’ve Seen,’ as each track has its own transportive nature. ‘Cliffside’ is sodden with a primaeval, aboriginal creak, offset by airy strumming that catapults you back into the 21st century, ‘Eden’ has you awash with lush, summery gongs and breathless electronic wisps, and the enthralling, sensory overload of ‘Red’ has you gripping the side of your seat in anticipation. Ever the tale-teller, Wickens moves within each tracks borders, never overpowering, the perfect accompaniment to his arrangements no matter the context. The fluidity between genres afforded by his voice is what gives the record a true sense of timelessness. By the virtue of each song constructing its own narrative, the album avoids becoming rooted in any particular place, constantly evolving and changing as it progresses. Roaming through each world to the centre is far from easy, but once you arrive at the emotional crux, you feel both confronted and championed by your odyssey, and a better person for it.
With every turn deliberate and every trench seemingly hand dug, ‘All I’ve Seen’ is an auditory wonderland to traverse. A human album, one etched with laugh lines and tear marks, both raw and bruised but tender and empathetic, it is hard to imagine Wicken's debut album being any better. Emerging from the shadowy realm of ‘best-kept secret’ into the light as one of Northern Ireland’s most talented songwriters in recent years, ‘All I’ve Seen’ is an album to fall in love with. Or, more importantly, respect.