When an album begins with a song called ‘Sundown’, you know straight away that it’s one for an evening. Lover, Other perfectly captures that gloaming feeling of being in or moving between different moods or states of mind: not quite day and not quite night, both light and heavy, languid yet full of energy, loud and quiet.
Lover, Other introduces itself gently. ‘Sundown’ is a short acapella intro track from a full choir of Rosie Lowes, followed by the almost sleepy ‘Mood To Make Love’ in her trademark style, tone and lyrics. It’s not until the drum intro to ‘In My Head’, the third track on the album, that anything makes a loud noise. It’s not exactly a surprise, but it’s certainly a change. And change is a welcome presence throughout. ‘Bezerk’ is more of a surprise. It leaves behind the Rosie Lowe sound fans will already know and love, and is indeed a major contrast to the quiet album opening I mentioned. Yes we wanted more of the same sultry, soulful and sexy sounds of her back catalogue, and Lover, Other definitely delivers, but this song is a clear sign of a new sound and new intent. In a shock move, I had to actually turn my own immodest but usually justifiable bass levels DOWN, as it was so extraordinarily loud that much of the rest of the music was lost. I recommend listening on your own headphones rather than in my car.
The next section couldn’t sound more classic. ‘There Goes the Light’ and ‘Walk in the Park’ are both again more towards the sleepy or dreamy end of the sonic spectrum of this album. Both are rich in lush string and vocal arrangements which pepper Lover, Other and wouldn’t sound out of place soundtracking a 1950s movie. These and several other places on the album are full of sounds that hug a previous unknown middle ground or, if you will, twilight, between sampling and vocal manipulation.
For me, the new intent peaks with ‘Something’, the song I’m most obsessed with from this album. It exemplifies the way Rosie has effortlessly brought opposites together. ‘Something’ is quiet and loud, fast and slow, subtle and in your face. It’s pretty extraordinary. This is the song I’m most excited to see live and here’s hoping she announces a full tour soon.
The new sounds are perhaps a by-product of the recording process, apparently largely done on mobile equipment while on the move in various locations. Thinking outside of a conventional band setup while recording has proved a huge benefit this time around. The quiet to loud to quiet contrast is not a new trick in music, and it was served Rosie well in the past, including playing live. Her set opening of ‘Lifeline’ straight into ‘Birdsong’ at Manchester’s YES back in 2020 is still one of the greatest live music moments of my life.
It’s a different vision of night too from previous album YU, Rosie’s second, which featured ‘Birdsong’. I see this new vision as a sign of a love, a relationship, maturing. You’d certainly expect on a album with this title, or if you’ve any prior experience of Rosie’s music, that there would be reflections on intimate moments. Again there are different focuses. Day moves into night now, rather than an anticipation of birdsong following the night’s activities. And I’ll leave you to find out for yourself what those activities are, but it won’t take much imagination. In addition, Lover, Other also finds the space to explore the small but necessary moments of separation and difference that come wrapped up with that more nuanced version of intimacy this time around.
I’ve run out of words and I’ve not even mentioned ‘Gratitudes’, ‘Lay Me’ and the sexy AF lyrics (“walk out the sea dripping gold”, “imagine what your life could be”, “make me lemonade”), so listen and find out for yourself. It’s everything I could have wanted from Rosie’s next album and more. I love it.
Words by James Spearing
Picky Bastards 
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