[REVIEW] A Masterclass in Atmosphere and Grandiose Production from Sam Gellaitry on ANYWHERE HERE IS PERFECT

★★★★

The debut album from Scotland-based producer Sam Gellaitry, ANYWHERE HERE IS PERFECT, has been a long time coming. He first began experimenting with production at the age of 12, with the streaming app Soundcloud being the launchpad for his career. He quickly got signed by XL Recordings for a 3-part EP series titled Escapism, which was released a few years later in 2016. It was a group of electronic-based projects that were as disarmingly beautiful as they were intoxicatingly danceable, showcasing a fresh new artist with incredible skill.  

Each release branched off in different directions as Gellaitry tweaked and honed his now signature sound. After the independently released Viewfinder Vol. 1: PHOSPHENE in 2019, which explored more jazz-inspired arrangements backed by a borderless mix of  world instruments and modern dance music, he signed with Parlophone Records in 2020 and released the fantastic IV: a dizzying EP filled with cascading synths, digitally spliced harmonies and an ethereal take on 80s disco-influenced synth pop.  

Included in this collection was a little track titled ‘Assumptions’, which last year became somewhat of a sleeper hit, taking on a life of its own. Discussing the new album, Sam declared: “I was saying to people that I was gonna make assumptions: the album. An  album around the 80s disco sound. It's a testament to that sound; it doesn’t have any limits or time binding it.” And so we arrive at the album of the hour, with heavy expectations on its shoulders.  

‘LIGHTNING’ rides in guns blazing with full-fronted synths and a marching band essence in its melody; it's a brash and gloriously paced opener to the album. The lyricism matches the full body high of its accompanying sound: “The way you look at me is such a high.” These lines are being delivered by truly soaring vocals from Gellaitry that are dripping in tasteful auto-tune.  

‘START UP A RUMOUR’ kicks in seamlessly from the opener, wasting no time with an instantaneous groove of a beat, which also highlights how recognisable Gellaitry’s sound is as a producer. The slight vocal experimentation, the warbling effects on synths and percussion and a heavy focus on otherworldly atmospherics. His songwriting over the  years has also gotten tighter and more sophisticated. The hooks thematically tie into the nature of the tracks; they don’t just flow perfectly, they fit perfectly. 

This album also doesn’t just feel like an extension of ‘Assumptions’ either. It builds on a large variety of elements from disco and dance music, as well as feeling like natural evolutions from his Viewfinder and Escapism projects. The throbbing bass and warped  siren sounds of ‘DANGER!’ deliver with the gravitas of a Hollywood sci-fi movie soundtrack, backed by the emotive delivery of Gellaitry, ruminating over the one who got  away; “Still lie to one another, about how it feels when we lay in each other's arms”. 

Gentle guitar licks are complemented by twinkling percussion in ‘LOVE ON ME’, which unfolds into dreamy melodies and bouncy digital sounds drifting in and out of earshot. ‘NERVOUS’ is a track filled with urgency, smooth guitar work is layered with feelings of unease as the punchy drums start to pick up and lead into indulgent synth instrumentals that absolutely soar.  

This is the best Gellaitry has sounded in the vocal department so far in his career. His vocals evoke a delicate quality, with great care in how they're digitally distorted in various ways throughout the album. ‘CLOUDS’ features gorgeous warped harmonies layered over string arrangements, subtly transitioning into washed-out guitars and muted drums for a sparse but effective journey. The final tracks on the album directly connect: ‘DON’T  TRY’ and ‘YOU MIGHT FIND THE ONE’, which both see Gellaitry paying homage to the electronic pioneers Daft Punk with his voice drenched in vocoder effects. Both tracks  focus on the rhythm, with vocals playing a more complementary role, allowing the spacey production to breathe. Notably, the piano solo at the end of ‘DON’T TRY’ that leads into the final hook hits with impact.  

Occasionally, the tracks do tend to feel a bit too in sync with one another. Particularly the  singles, with ‘ON&ON’ veering into similar territories as past tracks before picking up in  the song’s second half. ‘CURIOUS’ fares better in the context of the album than it did as a single. Its placement on the track listing is neatly paced, and the synergy between him and fellow musical heavyweight Toro Y Moi is undeniable, but it is a track that I feel needs time to grow with the listener. I must stress that these are purely minor gripes because everything else surrounding this project is so sharply refined it could slice through steel.  

To deliver on a promise this strongly on the first album is almost unheard of. Gellaitry’s production skills and ability to create a specific soundscape with such variety prove he hasn’t lost it after nearly a decade in the industry already. Apart from a few mixing credits, Gellaitry is all over this album, and it shows. The intricate progression of the songs, the heartfelt lyricism that always seems to naturally reflect the production choices and the solidly placed moments of restraint through vocal and instrumental work all seem to come together in a very connected fashion.  

Before the official album art was released, there was placeholder art instead, with a spoken work piece that aligned with the artwork as well as the album. The closing line stated: “IF THE ROAD IS THERE TO RESEMBLE YOUR DESTINY THEN MAKE SURE  THEY KNOW WHERE YOU ARE GOING, AS WELL AS YOURSELF.” This project is a testament to the road that’s been leading up to this exact moment, and it’s as close to perfect as one will get.