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Nat Baldwin's third album In The Hollows boasts a consistent and captivating quality that is almost as mesmerising as his live shows. If you've never seen Baldwin in concert then try and catch him next time he's in your city. There is something otherworldly about the combination of his double bass's powerful depth and the fragility of his voice, akin to the soulful delicacy of Nick Drake or Anthony Hegarty.

There are also recognisable vocal parallels between Nat Baldwin and his parent group Dirty Projectors. With a noticeable nod to Dave Longstreth's distinctive voice, which plays such a strong role in Dirty Projectors' music, Baldwin uses the Longstreth technique of expanding and affixing superfluous syllables to lyrics - pointedly stretching out the words "wasted again" on opener 'Wasted' like a protracted pain-numbing binge that may have inspired the track.

Themes of pain with a backdrop of double bass and strings sound like the makings of a fairly gloomy album. However, this is not the case. Amongst all the melancholy - and there's a lot of it - Baldwin also presents plenty of forward-thinking determination, not just in his sometimes surreal lyrics but also in the experimental strings. This overriding quality - a gritty willpower - comes from Baldwin's marathon training. While recording In The Hollows he followed a rigorous routine of working out and running in the morning followed by writing in the afternoon.

"Circles by my side with soft hands and quicksands stuck in realities of bad dreams" - Baldwin's illusory lyrics are at times almost indecipherable and with his trademark double bass and stripped-back string arrangements, there is a hypnotic dreaminess to In The Hollows; the inaugural listen stopping you in your tracks, entrancing you far away into a fantastical reverie.

There is no denying that this is Baldwin's most consistent album yet. Yet, for some listeners, Baldwin's approach could be considered rather one-dimensional. A touch of diversity in the production might satisfy those looking for another 'Stillness is the Move' but Baldwin isn't necessarily trying to please the masses. The foggy linearity of these nine tracks is perhaps the album's foremost quality.

Many would be content with the bit-part role of bass player in a critically acclaimed band but thank god Baldwin has the resolve to go alone and share his music with us. Intimate, raw and captivating; there is lasting wisdom found in In The Hollows.

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