Nothing Concrete - The Imperfectionist

Nothing Concrete

The Imperfectionist
self-released; 2025

TOP ALBUM

By Jamie Funk
​

Nothing Concrete originated in Scotland but now reside in Foix, France, and their fourth studio album The Imperfectionist feels like a clear statement of identity. Built around a core duo—Fergus McKay and Gaia Miato—the group draws from a rotating cast of musicians from around the world. The result is a record that blends afrobeat, tango, blues, and indie rock into a style that feels considered and purposeful rather than eclectic for its own sake.

The album opens with “The Boats,” and I immediately noticed how the instrumentation builds. The marching snare and layered horns give it a steady pulse, but what stood out most were the modal scales that leaned into Eastern tonalities. It reminded me of music that prioritizes atmosphere without losing focus. There’s a balance between traditional forms and more contemporary structures, and I appreciated the attention to detail.

“Broken Bird” took the energy in another direction. The song feels light on its feet, but there’s control behind it. I liked the subtle shifts in melody and the way the vocal harmonies fold together near the end. It’s one of the more effective songs on the record because it doesn’t try to do too much.

“Cometh the Hour” brings in a deep groove, anchored by upright bass and horns that swell just enough without overpowering the rest of the arrangement. It gave me the feeling of an early 1970s recording, where the atmosphere is just as important as the composition. The playing is restrained but confident. “Empty Whisky Bottle Mariachi Blues” is less interested in minimalism. The groove is direct and the vocal exchanges are dynamic. I liked the clarity of the story being told, and how the interplay between instruments supported it rather than competing with it. The Latin influence is noticeable but not overstated.

“He Don’t Do Much of That Now” leans into a more classic jazz-funk structure. The rhythm section is tight, and the vocals are delivered with clarity and control. The song doesn’t try to shift gears too much, which makes its pacing feel steady and intentional.

The title track stood out as one of the more cinematic moments. It moves with precision and feels composed for visual accompaniment. “John Henry Lee” moves into a more Americana-leaning space and felt emotionally direct. It has a timeless quality that worked well within the flow of the record.

“No Force” plays with rhythmic variation, while “S.O.S. (Save Our Souls)” and “The Western” close the record with a return to higher energy. I liked the momentum here. It felt like the band had found a good sense of pacing.

Across the album, Nothing Concrete show a clear understanding of how to shape each track around its own internal logic. The songwriting is tight, the performances are thoughtful, and the production allows the variety of influences to coexist without feeling cluttered. They’ve built something that feels personal without being overly referential. It’s a strong, well-executed release.

Become A Fan

Tweet