Who is Neil Frances? 

Some dude? 

Well, electronic indie-pop duo, Jordan Feller and Marc Gilfry give us the answer by declaring There is no Neil Frances. Yes, dear reader, it is an interesting play on words and makes you wonder just how Neil Frances became Neil Frances. While I’d love to look behind the curtain, sometimes not knowing is the ultimate reward for it isn’t only the band’s name that I find intriguing but the fact that the song titles are collated in such a manner that when read together, form a poem. There is no Neil Frances is subsequently more than a series of songs, or a basic album, for it is an experience that is well-considered with regards to their intended audience and this naming convention reminds me of the successful implementation The Roots have had with their consecutive numbering structure. 

While no announcement has yet been made regarding a possible vinyl release, the lossless Apple Music stream is thoroughly pleasing. The mix is arguably perfect, but the music gives you a dream-like sensation that would be perfectly experienced via a surround mix. Disappointingly, a Dolby Atmos version is not available and while I acknowledge that technology may extend beyond the cost-to-value equation of independent artists, There is no Neil Frances would be a perfect contender as much of the album is already expansive and immersive, within the stereo mix. I can only imagine how impressive a multi-channel release would be. Similarly, but naturally different, I feel the fuller sound of vinyl would take the album to a whole other level. Of course, one shouldn’t confuse these wishes for a criticism of the recording, mix, and mastering process of the album, for I wouldn’t alter any aspect of the stereo mix, it’s just that I’d love to hear a little more; literally. 

Little heartbeat, merges with your own heartbeat then takes the tempo up a few notches. It really is an immersive experience and it helps that the song has a slow build before masterfully adding in the vocal component. I’m not sold, however, on the synth elements that remind me of Deep Purple as it simply sounds out-of-place. The outro is also obscure. I don’t mean the amazing fade-out, but the incoherent vocal element that is as irritating as Jim Carey’s radio DJ addition to The Weeknd’s Out Of Time. Seriously, I’d love to know why it was added and if Neil Frances realises that this technique doesn’t play well within playlists. While different, it irritates me to the same level as the inclusion of Breath (In The Air) on Pink Floyd’s Essential’s Playlist. Listen to how it abruptly ends before going into Hey You. It somewhat ruins the experience and while Floyd’s gapless playback worked wonders on Dark Side Of The Moon, this technique simply doesn’t transfer well beyond the album experience. 

on a dark night, has a great rhythm, with a catchy chorus, that will get you grooving; superb! The vocals here remind me of Billie Eilish and I can’t help but want to hear this song performed as a duet.

I just want you to is an interlude that perfectly segues into be free. It’s short, to the point, but works incredibly well for its intended purpose.

be free. continues with a similar tempo to on a dark night, but this is one song that would be perfect for any dance club setlist, anywhere in the world.

The music video is primarily a behind-the-scenes montage and for its purpose, it’s adequate. Could a better music video have been produced? Absolutely, but at least Neil Frances didn’t release a lyric video.  

I can feel the pressure has a haunting introductory vocal element that captivates my soul. Following the introduction, a bluesy pop rhythm fully realises the potential of the song and when it all comes together, I can feel the pressure becomes the best song on the album.

thump thumping from a distance (Karen’s Interlude). is simply hilarious and is perfectly aligned to the zeitgeist. Unlike the spoken word elements that broke up the flow of The Weeknd’s later release, Dawn FM, this particular instance is done so well that it creates a seamless transitional element between songs. 

It’s like a dream is a solid tune but it’s a little too predictable and safe, meaning that it isn’t a standout. 

where I become someone (feat. Benny Sings) is one of those songs that you can’t help but reflect upon positively. Of course, becoming someone is subjective to the individual, so take a listen, think about what becoming someone means to you, and play this tune whenever you’re in doubt or feel that you’ve lost your way. 

The music video is, however,…confusing. Yes, many modern music videos are open to interpretation, but in this instance, the animations don’t really match the music thereby making it, dare I say, pointless.

dancing will touch your soul as your body moves involuntarily to the rhythm. While the stereo mix is exceptional, with countless musical levels, dancing is one song that would most certainly benefit from the additional channel elements provided by an Atmos mix. 

in the starlight, is a low-point for the album. It fails as a song and doesn’t live up to the songs that have come before it.

finding rhythm (feat. GRAE) merges seamlessly from in the starlight and thankfully it is a far better song.  

The music video is interesting and, at first, I didn’t know what to think. It has a low-budget indie-feel to it and doesn't quite sync to the music, but I’ll be damned if I don’t acknowledge how compelling the silent story was when laid on the musical bed that is finding rhythm. 

every day with you, is a musical mishmash and in the context of the album flow, it works, but it isn’t a song that I feel anyone would seek out on its own.

we’re falling up has an interesting style and is one tune that I initially didn’t connect with. Upon multiple listens, however, I was able to unpack the song and its particular elements in a manner that allows me to fully appreciate it thereby demonstrating that you should always listen to music multiple times before dismissing it. 

like electric blue angels. is dreamy, due in part to a vocal that is choral in nature. While lyrics are naturally present, they’re so mumbled that they’re next to incomprehensible. In this case, the human vocal can be seen as an instrument in and of itself and as such I feel it becomes the perfect closer as it leaves you in a contemplative mood, ready to experience the album again. 

From start to finish, There is no Neil Frances is an experience that deserves to be heard and is indicative of the indie-pop electronic genre. While I can feel the pressure is the standout song on the album, the remaining tunes blend into a piece of linear musical art that is the sum of its parts. Adding to this is the relatively restrained runtime that compels you to put the album on repeat. There is no Neil Frances plays beautifully as either focused or background music, thereby ensuring it will appeal to any moment of your life.