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Thomas Charlie Pedersen releases new LP

2020 has given us a lot of sensational indie records so far, and one of the standouts I recently came across is Thomas Charlie Pedersen’s Daylight Saving Hours, which clocks in at a modest 37 minutes but still manages to dish out some of the most enchanting harmonies, verses and swaying melodies that the singer/songwriter has ever written. This LP has become one of my favorites because of its unfiltered emotionality, and after you hear it for yourself, I think you’re going to share my sentiments about its fantastically inventive songcraft. From its first track, “To a First Love,” to its final bow in the title cut, this is an album that demands a reaction out of its listeners every time it’s picked up.

Tracks like “At the End of the Day,” the instrumental “The Witty Moniker,” “Stay True,” “The World is Not Your Oyster” and “Moveables” juxtapose multiple influences whilst adhering to a plaintive style of lyricism, but they’re by no means an homage to another era, nor another artist, in the lexicon of the folk genre. Hybridity is an essential ingredient in the recipe for success that Thomas Charlie Pedersen has been following thus far in his career, and though he can’t necessarily be accused of intentionally staying away from a pattern in his style of attack in the studio, he isn’t doing anything in Daylight Saving Hours that would sell the idea of his being dependent on writing rituals when it comes to making awesome music (with or without the collaborative help of his brother Daniel, who joins him here).


I would have started the record off with “Faithful Mistress,” “The Freewheeler” and “Sad to See You Go” instead of with the trio of “To a First Love,” “The Meriwether Pull” and “Moveables,” but I kind of get why Pedersen decided to go this route with the tracklist instead. If the goal here was to build off of the emotional ebbtide that the lyrics of the latter three songs create, beginning Daylight Saving Hours with these songs actually makes it easier for us to segue into the instrumentally-stimulating vibrancies of “Must Be the World,” “Blood Moon” and “At the End of the Day” later on in the LP. It’s methodical to no end, but comely from a musician’s perspective nevertheless.

Though I just recently started listening to Thomas Charlie Pedersen’s music, beginning with his first album Second Hand War and now Daylight Saving Hours, I adore what he’s doing with his solo work right now. He doesn’t play the part of the tired troubadour, but he’s not really distancing himself from the model set forth by some of the most legendary names in folk music, either. His mixture of old world aesthetics and modern day lyrical wit is a cocktail that I’ve yet to resist, and if he keeps his nose to the grindstone (as he has for the last half-decade), he’s going to wind up becoming one of the more important artists in this genre he’s conquered so handily.

John McCall

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