Once in the third test, the English singer-songwriter Victoria Ann “Tor” Maries, aka Billy Nomates, leaves the hardest sounds close to the post-punk of the first job and in part of the second to venture into decidedly more melodic territories. This change of direction has been intuitive from the opening of “Metalhorse”, in which a refined piano opens the dances to a piece with a pressing and engaging rhythm, inevitable not to perceive strong assonances with the productions of Fiona Apple. The subsequent “Nothin Worth Winning” turns on New Wave plots thanks to Synth buttons and hypnotic capable of creating an atmosphere of veiled melancholy.
More energetic “The Test”, a single that anticipated the album, still characterized by a warm piano as well as a deep bass line and a general incede that recalls the Synth-pop of the future Islands. The song is a hymn to resilience and expresses the idea of not surrendering to the even hard tests that life can reserve for you. In “override” of fast guitars, in vague Smitshian style, they give vigor to a piece in which you can grasp country and folk echoes, showing a Billy Nomates capable of exploring new musical territories with a certain ease. This opening is also evident in “Dark Horse Friend”, which sees the participation of Hugh Cornwell of the Stranglers, a collaboration that adds a more rock vein to the track, with a text that investigates the theme relating to the complexity of human relationships.
The album continues with a short song but with the solemn stretches that laps soul territories such as “in Life's Unfair” which follows the dynamic “Plans” that recalls the lively sound pop of B-52's.
It is above all in the texts that “Metalhorse” reveals its true strength and depth. Billy Nomates confirms himself to be an acute and disenchanted storyteller, telling stories of suburbs (understood not only as physical places) and painting paintings of daily life with raw irony and typically British sarcasm. The Fil Rouge Which then binds the entire album revolves around the concept of “moon-park”, understood as a metaphor of life, in which continuous challenges are faced and where strong emotions such as euphoria and fear alternate, joy and disappointments.
The hypnotic “Gas” is also noteworthy, thanks to enveloping and penetrating synths followed by “Comefic Timing”, enjoyable piece with a slower rhythm that at the distance has the defect of being somewhat harmless. “Strange Gift” proves to be one of the most intense and vulnerable moments of “metalhorse”: an intimate ballad guitar and voice in which Nomates addresses the theme of death with great sensitivity and delicacy, bringing out all its expressive fragility.
We reach the credits with the cathartic “Moon Explodes”: explosive and liberating, configures the perfect conclusion of the album.
“Metalhorse” proves to be an undoubtedly sought after and brilliant work, which confirms Billy Nomates' artistic stature. However, while exploring new directions and demonstrating great potential, Tor Maries does not seem to have yet found the definitive structure, but letting you glimpse wide spaces for further creative evolution.
02/06/2025
Antonio Santini for SANREMO.FM
