Breathtakingly beautiful and intimately immersive, Novo Amor’s sophomore album ‘Cannot Be, Whatsoever’ is a compelling journey into the self that pushes the Welsh artist’s indie folk artistry forward into enchanting new territory.

Novo Amor’s words ring out into a dazzling brightness as his sophomore album gently takes off. It’s a moment of recognition and self-knowing, but just as meaningfully, it’s a moment of resounding confidence, acceptance, and excitement: The birth of a new chapter; the embrace of a fresh start; the open-mindedness to glide into the future with one’s head held high. Breathtakingly beautiful and intimately immersive, Novo Amor’s sophomore album Cannot Be, Whatsoever is a compelling journey into the self that pushes the artist’s indie folk artistry forward into enchanting new territory.

Released November 6, 2020 via AllPoints, Cannot Be, Whatsoever is as dramatic as it is heart-on-sleeve authentic. Its honest lyrics are buoyed by a series of mesmerizing, emotionally-fueled sonics and soundscapes that flood the ears with cinematic imagery as they flood they heart with feeling. The moniker for Welsh singer, songwriter, producer, and multi-instrumentalist Ali Lacey, Novo Amor came into our worlds six and a half long years ago with his unassuming and expansive debut “From Gold”; echoing the likes of Bon Iver, Dustin Tebbutt, Hayden Calnin, and Haux, and so on, his special brand of delicate indie folk has entranced and indulged music lovers around the world as he released a steady stream of songs deeply rooted in humanity, existential reflection, and personal growth and introspection. 2017’s Heiress, a collaborative album with longtime friend and musical accomplice Ed Tullett, was followed in 2018 by his own debut album, Birthplace – whose resonance still captures everything Novo Amor was and had been, up to that point in time.

“When I think about Birthplace I think about moving into my new studio. I think about recording “Repeat Until Death” as it snowed heavily outside the window by my piano. I think about the huge amount of touring new places I did after the release. Birthplace has solidified its place in my life,” Novo Amor’s Ali Lacey tells Atwood Magazine. “If Birthplace is the countryside, then Cannot Be, Whatsoever is the city. It’s not exactly my roots, but it’s where I’ve been for a long time. I think this music reflects that, whereas Birthplace feels more like a reflection of the early days of Novo Amor, putting a lot of focus on Upstate NY and how Novo Amor was formed.

Arriving two years after his debut, Cannot Be, Whatsoever is a wellspring of bright light and energy compared to Birthplace‘s more subdued, ethereal, and perhaps “hazier,” melancholy stature. Lacey surrenders to good feelings of tranquility, making peace with wherever he is at the present moment in songs that soothe the soul while still tapping into deeper subject matters. All told, the record does feel singular in nature; as if, like puzzle pieces, the songs fit just right in a soundtrack of optimistic self-discovery.

“It’s funny, because making the record felt so much the other way, like it was a badly made puzzle with unfitting pieces and chewed-up corners,” Lacey admits. “Not to discredit my own work, because I’m super happy with the outcome now. It’s the best body of work I’ve made, for sure, but… I think the record captures a bit more of the accepting side of me to try and share Novo Amor with others. A lot of collaboration between Ed Tullett and me went into making this record. It also found me at a unique place in my life, with more years of touring behind me and more desire to experiment and move further away from a traditional guitar and vocal, melancholic singer/songwriter vibe. The most exciting thing for me is just messing around with production, learning how to get certain drum sounds and create a feeling using sound. It’s kinda nerdy and boring.”

Rather than opt for any other adjectives, Lacey uses the title’s three words “Cannot” “Be” “Whatsoever” to describe this album. “The title is taken from Dutch artist Tilleke Schwarz’s artwork, named Birdcage (the front cover piece),” he explains. “I realize that they’re not descriptive words, but the point is that they almost feel like a random, slightly confusing combination, forming a phrase that sounds indecisive and vague as to what it’s referring to. I feel like the record, from a sonic and lyrical intent point of view, is quite scattered, but held together with the thread of my self-production and voice.”

“With my debut album, a collaborative album, two EPs and a bunch of stand-alone singles already behind me, it was the first time I was really feeling like, “Where do I go from here?”, which was part-exciting and liberating and part-scary and kind of confusing. I felt like I’d sort of achieved my purpose within Novo Amor a few years ago and I was really questioning what I thought was good music, what I wanted to release and why I wanted to release it. Making the album happened naturally; it was always going to happen, but the songs became quite scattered in tone. I’d make something really upbeat, then the next week something really lo-fi and sombre. I’d be jumping from feeling really excited about what I was making to complete uncertainty and doubt, like what I was making didn’t fit together as one piece. I came out the other side with an album that I’m really happy with. Concise but broad, I think. The name is meant to feel indecisive, like the process. I’m not really sure I answered the question, so maybe I don’t know what it means to me. As an album, It obviously means a lot to me. It’s another period of my life that’s gone by and been captured in waveforms.”