Album Review: Oscar Scheller - 'Coming of Age'
Oscar Scheller has released his fourth album, Coming of Age, on 10th November via Scheller’s Handle With Care.
Between 2016 and 2021, Scheller released three albums: Cut and Paste, HTTP404, and Boys Cry, receiving strong public admiration, notably for Scheller’s talent as a pop lyricist, not to mention his collaborations with the likes of Ashnikko, PinkPantheress, and many others. With this new collection of thirteen tracks, Scheller explores what love means in different types of relationships. He says, “We have so many ideas around love and what it means…There’s a reason why we’re always thinking about and talking about love, why we’re so obsessed with it culturally. (All Stripes, 2023)” And so, love has become our favourite infatuation. The making of this album was also inspired by Scheller’s move from London to Los Angeles, serving as an opportunity for his self-development and creativity. Coming of Age is a carefully put-together album with the main subject being relationships and the loss involved.
A key characteristic I notice is Scheller’s experimentation with audio effects and automation, notably in the opening track, “Apricot,” with an interesting hi-pass filter spiralling out. He’s infused this album with his originality, and there are some obvious nods to nostalgic 1980s synth-pop styles, too, which have been reworked with modern processes. For example, the attractive synth riffs found in “Practice Run,” a song about giving relationships another go. There’s some serious vocal distortion in “8 Minute Abs,” too, a song about Scheller pining for something he can’t have; a commonality in Coming of Age, which also features in “Hole In My Jeans.”
As a side note, something about the production of “CPR” reminds me of Madonna’s Ray of Light album with the vocals and drums; its flow. The strings in this one are a friendly complement to the album, as well. Scheller knows how to mix all the ingredients to form an excellent musical dish.
A few songs on Coming of Age are a bit heavier, discussing Scheller’s sombre emotional states. “Black Box,” which has a more prominent rock vibe, could be a synonym for his depression: “It pulls me down into my darkest place.” “Bruises” has a thick underlying bass with Scheller repeatedly singing: “All the things I’ll never be to you,” implying he’s grieving what’s no more. A woman’s voice plays in a message at the end, suggesting this is Scheller’s former lover, fading out with the song. And “Oblivion,” another heavy track, matches Scheller’s embarrassment, wondering how he’s lost his ‘goddamn mind.’ This album has quite a few rises and falls in temperament, as we listeners are pulled along Scheller’s internal journey.
“Nightmare Blunt Rotation,” the lead single, and “Michelangelo,” named after the famed Renaissance sculptor, could easily be radio pop hits with their catchy electric chords. “Nightmare Blunt Rotation” has a music video directed by Morgan Maher, which goes into ‘the hedonism of self-indulgence’ and the ‘hunger’ for self-recognition, symbolised by the crazed group of girls (All Stripes, 2023).
Two collaborators, Makk Mikkael and babyidontlikeyou, sing on “Self Defence” and “Somebody Else’s Car,” respectively. “Self Defence” is about the final chapter of a relationship from two different perspectives. In the end, Mikkael and Scheller sing together: “So funny how all good things end/Was that you or was it self defence,” making light of their relationship issues and asking whether their motivations were intentional. “Somebody Else’s Car” discusses the gnawing feeling of knowing an ex is seeing a new person, exemplified by the intoxicating bass with babyidontlikeyou’s vocals adding a sweet finishing touch.
By the end of this album, listeners will have come of age with Oscar Scheller, going through his ups and downs with him. A wonderful blend of old and new music techniques, giving listeners a peek into Scheller’s inner world through memorable pop motifs and lyrical hooks.
Words by Sydney Kaster
