Reeve Stimpson – ‘Born Too Late’

(Coastal Records)

There are some albums that sound like they belong to a particular era, and then there are albums that seem determined to drag that era kicking and screaming back into the present. Reeve Stimpson’s Born Too Late most definitely belongs in the latter camp. Stimpson’s debut is a lovingly crafted celebration of everything wonderful about the 1980s, wrapped in modern production and delivered with enough infectious melody to make even the most committed nostalgia-phobe reach for the nearest pair of Ray-Bans.

Although Stimpson is officially filed under pop, there is plenty here for anyone with a soft spot for synthwave, retro-pop and the more melodic side of Eighties rock. The artist himself describes his sound as modern Eighties pop, combining contemporary production with the influence of Eighties pop and rock, and that description hits the nail squarely on the head.

Born Too Late feels like the soundtrack to a movie that somehow never existed. It has that wonderfully cinematic quality that defined so much of the music from the decade: shimmering synthesizers, glossy production, pulsing electronic rhythms, big hooks and an unmistakable sense of romantic adventure. There is something almost gloriously innocent about it all. This is music about falling in love, chasing dreams, taking chances and wondering whether tonight might just be the night when everything changes.

And that is perhaps the album's greatest strength. It doesn't try to be cool in the modern, detached sense of the word. Instead, it embraces emotion. It wears its heart proudly on its sleeve and isn't afraid of a huge chorus, a romantic lyric or a synth line that sounds like it has just stepped out of a John Hughes movie.

The production is absolutely central to the experience. The electronic textures are polished without becoming sterile, giving the album a warm, analogue-inspired character while retaining the clarity of a modern recording. There are plenty of keyboards and programmed rhythms, but they are used to create atmosphere rather than simply tick a genre box. The result is a sound that sits somewhere between synthwave, Eighties pop-rock and cinematic retro-pop.

There is also a strong melodic instinct running through the entire record. Stimpson understands that the best retro music wasn't necessarily complicated; it was memorable. The hooks were immediate; the choruses were enormous and the melodies stayed lodged in your head long after the needle had left the record. Born Too Late understands that philosophy perfectly.

The influence of artists such as Bryan Adams, Huey Lewis & The News and Rick Springfield is hardly surprising, given Stimpson's own comments about his musical inspirations. You can hear that Eighties male solo-artist tradition throughout the album, particularly in the combination of romantic songwriting, pop accessibility and rock sensibility. There's also a touch of the cinematic exuberance associated with the great soundtrack albums of the period.

Vocally, Stimpson fits the material extremely well. His delivery is clean, melodic and emotionally direct, allowing the songs to breathe without being overwhelmed by unnecessary vocal gymnastics. This isn't an album that requires a vocalist to prove how many notes he can hit. Instead, the emphasis is on storytelling, personality and melody, and Stimpson brings exactly the right character to the material.

One of the things I particularly enjoy about Born Too Late is how unapologetically nostalgic it is without sounding like a cheap imitation. There is a fine line between recreating a musical era and simply dressing up modern music in retro clothing. Stimpson largely avoids that trap. The songwriting itself has enough personality to stand on its own, while the production provides the neon lighting, vintage cars and late-night city streets.

It also helps that there is a genuine sense of fun running through the album. This isn't dark, brooding synthwave designed for staring moodily through a rain-covered window. This is the brighter, more romantic side of the Eighties. Think driving through the city at night with the stereo turned up, the dashboard glowing, and absolutely no idea where you're going but every confidence that you're going to have a good time getting there.

The album's title is therefore wonderfully appropriate. Stimpson has spoken about people telling him he was born in the wrong generation, and Born Too Late feels like his answer to that observation. Rather than simply wishing he had lived through the Eighties, he has effectively created his own version of them.

There are moments when the retro aesthetic is so strong that you can almost smell the hairspray, but frankly, that's part of the charm. In an era where so much music can feel over-produced, over-serious or determined to sound aggressively current, there is something refreshing about an album that simply wants you to have fun.

At just eight songs, Born Too Late is also admirably concise. There is no bloated twenty-track running order or unnecessary padding. It arrives, delivers its colourful blast of retro goodness and leaves you wanting more. The album feels more like a perfectly selected collection of Eighties-inspired singles than a sprawling modern pop statement, and that works very much in its favour.

‘Too Late?’, the perfect way to open the album, this instantly establishes the retro-synthwave aesthetic that runs throughout Born Too Late. The shimmering keyboards, electronic pulse and nostalgic atmosphere immediately transport you back to the Eighties. There is a playful confidence to the song, while the melody has that wonderfully infectious quality that makes you want to hit repeat. It sets the tone beautifully and makes one thing clear: Reeve Stimpson knows exactly what decade he wants to live in!

‘True Love Talking’, romantic and melodic, this is where the softer side of Stimpson's songwriting really comes through. The synth textures provide a wonderfully warm backdrop, while the vocal delivery keeps everything personal and sincere. There is a lovely sense of longing here, but it never becomes overly sentimental. The chorus has plenty of lift and is another fine example of Stimpson's ability to combine retro sounds with genuinely memorable songwriting.

‘One Night Stand’, things get a little more playful here, with a slightly cheekier attitude creeping into the proceedings. The electronic groove gives the song plenty of movement, while the Eighties-inspired production remains firmly in place. It's catchy, polished and packed with the sort of carefree energy that suits the subject matter perfectly. This is synthwave with a mischievous grin rather than a brooding stare.

‘I Hold On’, a more emotional moment, this one has a real sense of perseverance running through it. The arrangement gradually builds around the vocal, with the synthesizers creating an atmospheric backdrop that allows the melody to shine. Stimpson delivers the lyrics with sincerity, and there is a pleasing warmth to the whole performance. A strong reminder that beneath all the retro production, there is some genuinely heartfelt songwriting.

‘Back To The Future’, you don't need to be a DeLorean owner to appreciate this gloriously nostalgic trip through time. The Eighties influences are dialled up beautifully, with sparkling keyboards and an upbeat electronic rhythm creating an irresistible sense of motion. It's fun, energetic and cinematic, capturing that wonderful feeling of wanting to turn the clock back to a simpler musical era.

‘Never Know Love’, another romantic offering, but with a slightly more reflective edge. The synths are beautifully atmospheric and allow the vocal melody to take centre stage. There is a touch of melancholy here, giving the song greater emotional depth than some of the album's more upbeat moments. Stimpson handles the mood extremely well, keeping things melodic and accessible.

‘Here & Heaven’, this is one of those songs that simply makes you feel good. Bright, uplifting and packed with gorgeous retro keyboard sounds, it has that classic Eighties soundtrack quality that makes you imagine driving into the sunset with the windows down. The chorus is particularly effective, and the overall production has a wonderfully glossy sheen.

A strong closing statement, ‘Over Me’ brings the album to a satisfying conclusion. The atmosphere is slightly more reflective, but the melody remains front and centre. The synthwave production provides plenty of colour without overpowering the songwriting, while Stimpson's vocal gives the song an emotional finish. A fitting finale to an album that proves being Born Too Late can actually be a very good thing.

Ultimately, Born Too Late is a love letter to an era when melody mattered, synthesizers were magnificent, choruses were built to be sung along with and music could make you feel like the star of your own movie.

Reeve Stimpson may indeed have been born too late, but musically he has arrived at exactly the right time. With the current appetite for retro sounds showing no sign of disappearing, Born Too Late feels perfectly placed to find an audience among those who believe the Eighties never really went away.

Put simply, this is neon-soaked, romantic, feel-good retro pop with a modern sheen. Fans of synthwave, Eighties pop-rock and big cinematic melodies should definitely give this one a spin.

8/10

Essential Track – ‘Never Know Love’

Review by Woody