It have been a couple of weeks since Josef Salvat released Night Swim. We like to wait and listen to an album several times or several months before we consider doing a review of it. However, somehow, with this album is a little bit different. Since the release of Hustler back in 2014, Salvat released 5 other singles and several cooperative songs like the short and intense Hunger, interlude of Pablo Nouvelle‘s album (which we will also be talking about soon), the electrifying Heading Home with Gryffin, the mesmerizing Holding On with Niia, and the deep Shame On Me with Aqualung. This amount of quality songs and the frequency they have come out, shaped us perfectly for a full album. Night Swim is Salvat’s debut album, a 16 song-long and surreal-consistent one. Open Season, which has played for almost a year, opens it up to a very high paced rhythm which somehow characterizes the entire piece. Then, Paradise, Hustler, and Punchline are like a strong sprint that make us feel that if this was a five-track E.P. we would be already very much overblown. But then a softer side kicks in: a little bit like Patrick Wolf‘s magical best tracks, comes the magical Closer, the deep Till I Found You where we can almost hear violins in the background, and we found ourselves again in the orgasmic Shoot and Run. At this point, we would consider ourselves pretty much fulfilled with the magic contained in Night Swim, but we are only at the middle point of it. Night Swim (the song) comes naturally as the 9th track, and the most surprising fact about it, is that with so much super-single tracks it can actually sound like the main song in the album. If you could listen to only one song that characterizes it, the self-titled single is in fact the trademark of the entire album. From there on this work of art gets into its softer side (but is still electric). The Days is probably the most romantic song in it. Every Night has its own flow, and it’s like Salvat was getting his most-deserved and quality rest from the first 10 songs. A Better Word is a pop power ballad with surprising edits and cuts. And when we reach the last four tracks, we know we are in Salvat’s experimentation territory and we can do nothing else but let ourselves go. We recognize the beats from This Life, the ridiculously good cover of Rihanna‘s Diamonds (where we acknowledge what a great song sounds like when is taken out of its context) and when he ends it up with the sentimental In the Audience, we are too much eager to go again. Through it all. This is not only perfection, but everything indie-pop music should sound like.
On Our Own speaks of losing faith but having the strength to keep moving and making the most out of everything.