- I could be swayed by the title of this record but the newest offering from Aldous Harding instils in me a want to don a flannel jacket, pack a bag, and go tend a garden bed tucked away in bucolic hills with it being the only piece of media I bring. Despite some sadness that Old Peel, a song I fell deeply in love with, doesn’t appear on this album, it got me through the gateway entirely. Warm Chris is Harding’s fourth album and the first to come via 4AD. Having not heard anything prior to this, I’m going in fresh: fresh like the produce I want to cultivate while this is on repeat. Truly, this record wells up nothing but a positive warm inner glow. Call it escapism. Call it endearing. Call it what you will. Warm Chris is simply a pleasant record and one that whisks me away whenever its playing.

The Old Peel void is filled by album opener Ennui and had me immediately sold on what was to follow. A mid-paced plod builds up as it goes along, spurred by basic, repetitive piano chords and bare-bones drumming. They’re going to be major parts to this record. In what sounds like an accidental recording, a small vocal moment just prior to the bridge gives this song and indeed album a sense of intimacy, like the tracking of it was done in one cruisy session. Couple that with how the snare rattles each time it's hit and resonates when the low end is loudest; it’s a laidback approach that puts you in a good mood. Then follows Tick Tock. Its nimble bass is threaded throughout the song and featherweight guitars extrapolate on the melody it puts forward, galvanising this fun, playful nature. A few songs on this record follow a similar garden path, bass meandering about underneath the more prominent instruments. Lawn does so with the four-strings blithely weaving its way under rolling snares and Passion Babe has this lackadaisical groove where Harding moves her vocals to the forefront more. For most of this record, the singing is a sugary layer over the relaxed music but Passion Babe has more intent.

Speaking of intent, Fever is the most musically engaging song and stands head and shoulders above the other tracks. Horns croon away in the background for the better part of the four minutes. Piano and vocals exchange the main melodic line between the verse and the chorus. It becomes rather uplifting when a jangling tambourine welcomes interplay between the vocals and the horns. In contrast, She’ll Be Coming Round The Mountain and Staring At The Henry Moore are quiet and meditative pieces tucked away towards the end of the record. A skeletal piano right out of a creepy lullaby accompanies the vocals on She’ll Be Coming before a banjo and those friendly horns help usher the former to an end. The albums wraps up with a supremely fun jaunt in Leathery Whip. Born from warm organs and cruisy rhythms, it features a swathe of guest vocals. I’m prone to being wrong but if that’s Sleaford Mods’ Jason Williams popping up with a warbly vocal harmony, I’m going to be bloody-well buzzing.

Calling this record nice isn’t inherently wrong but it feels particularly reductive. With how calm and consistent it is, Warm Chris is a breezy listen without fading away in the background. It relaxes you while not allowing you to drift. For my introduction into Aldous Harding, I couldn’t have asked for a better greeting party. Now, if you don’t mind me, I’ve a collection of marigolds and snow peas to attend to while this record keeps me warm.

- Matt Lynch.