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Nathan Alexander Evans (born 19 December 1994) is a Scottish singer and songwriter. Evans first gained fame in 2020 by posting videos of himself singing sea shanties on social media service TikTok. In 2021, he released a cover of the folk song "Wellerman", which peaked at the top of the UK Singles Chart and also charted in several other countries.
On the review aggregator Metacritic, Nothing to Declare received a 83 out of 100 based on 6 published reviews. [4] Nathan Evans wrote for Pitchfork that the album is "anchored" by various instruments and "gristly streaks of noise" and called the almost constant re-pitching of the musicians voices "a hall-of-mirrors twisting of the two musicians’ personalities". [1]
For The Quietus, Nathan Evans called this album "compositions deserve Fantasia-style visuals", that still retain some of the group's R&B roots. [12] Clash ' s Robin Murray dissented, with a five out of 10 review that considers this work weak compared the band's back catalogue, calling it "disappointing and listless", but "at times pretty, at ...
The accompanying official video was directed by Michael Baldwin and was released on 25 June 2021, along with the release of the song. In the official video, Evans appears in Seaford, East Sussex, Newhaven, Edinburgh, Brighton, Haywards Heath, Crawley, City of London, West Wickham and Crystal Palace, London.
The song, jointly credited to Nathan Evans and remixers 220 Kid and Billen Ted by the Official Charts Company (OCC), reached number one on the UK Singles Chart. [25] A new version of "Wellerman" with German folk band Santiano was released as a single on 19 February 2021. [26]
9 Lives (Koe Wetzel album) 9 Sad Symphonies; 10 for the People; 11th Dimension (album) 13" Frank Beltrame Italian Stiletto with Bison Horn Grips; 17 Is Right Here; 50 (Chris de Burgh album) 66 (album) 96 Miles from Bethlehem; 96 Months; 100's of 1000's, Millions of Billions; 143 (Katy Perry album) 999 (MC Lars album) 1331 (album) 1994 (Nathan ...
Nathan Evans of NME stated that Utopia "rivals OutKast's Stankonia for how it devours genres and settings into his world", before writing "But Scott sounds maddened by the pursuit of finding that vague world" and that it is reflected in how "he puts himself in the throes of" the "cacophonous Zamrock of 'Sirens'". [7]
[5] In the Review for Clash, Nathan Evans claimed that, "The best tracks on 'Haram' come together with crooked production that twitches with sharp samples and cuts, and AH’s billy woods and Elucid filling the space with pointed flows. The boys are stiff-nosed and mean-mugged, tightly rapping about dead bodies and vulgar sex to such a degree ...
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