I HAD A FEELING SOMETHING LIKE THIS WOULD HAPPEN
[Q&A] Nicholas Altobelli Still Lives in North Texas
Do you have any plans to do more recording this year?
Yes! Like I said before, we are wrapping up an LP that John Dufilho and I have been making since last fall. It’s called Technicolor Hearts. I’m super excited about it. There are some amazing special guests on it like Eric Slick of Dr. Dog, Doug Burr, Kristy Kruger, Salim Nourallah, McKenzie Smith and others. Sorry for the name-drops, but that’s the music business!
I’m really proud of this one. It’s also super different from how I’ve made albums in the past. We started with zero lyrics and complete songs, and we just jammed in the studio. We also experimented with different sounds and stuff. I’m beyond excited to get it out there. I think I’ll probably have it out either by the end of the year or early next year. Or maybe I’ll just drop it on a random Friday and not tell anyone, but I don’t think my publicist would like that. So, stay tuned. Maybe you’ll hear something in the fall. [READ FULL ARTICLE]
Music For All Seasons: A Dozen of 2020's Best Indie Albums
“I’m a rock and roll believer,” Nicholas Altobelli insists on “Midnight Radio,” the second song on his otherwise softly subdued album Kids. While the hushed tones may belie that aforementioned intent, his independent attitude also offers the impression that he’s capable of letting loose on a whim. The Dallas-based singer/songwriter has quietly pursued his ever-active muse for the better part of the past 12 years, courtesy of half a dozen earlier albums and a sole EP, each of which is a testament to a restless spirit and ability to mine an obvious allure. Available only through Bandcamp, Kids finds Altobelli offering up a dozen deliriously beautiful songs in a spare setting, using no added embellishment other than a solo acoustic guitar and his wistful, reflective vocals. Perfect for a quiet respite after a frenzied encounter with today’s topsy turvy world. [READ FULL ARTICLE]
2020 Dallas Observer Music Awards: The Best Americana Nominees
Perhaps one of the most prolific songwriters in Dallas, Nicholas Altobelli seems to be constantly putting out new music. His summer 2019 LP Vertigo, a true foray into the Americana genre, garnered several positive reviews across the country. The artist soon followed up with a single, “Ghost/Wonder,” in February of this year, then turned right around with a May pandemic release, a self-recorded acoustic EP called I Took My Hockey Stick and Smashed It Against An Old Tree, a title that captures Altobelli’s personality in a nutshell. His writing evokes at once an angst-ridden nostalgia and a resigned acceptance of a disappointing world, yet provides the listener with a level of comfort and reassurance that we are all as sad and as deep as the next poor sap. Barely in his mid-30s, Altobelli has already belt-buckled an impressive catalog that represents a cohesive yet evolving musical career that shows no signs of slowing down. [READ FULL ARTICLE]
Nicholas Altobelli Finds Solace in the Past on New EP
Arriving on the heels of his 2019 LP Vertigo, and the single “Ghost/Wonder,” which he released in February, Old Tree is an arresting dispatch from the early morning depths — a kind of In the Wee Small Hours by way of American Football or Conor Oberst.
Although brief (the EP clocks in at less than 20 minutes), Old Tree lingers. Altobelli, armed with nothing more than an acoustic guitar and his expressive tenor, conjures vivid images: “I stayed up all night/To make this mixtape right,” he sings on “Midnight Radio,” a tune as steeped in the romanticism of nostalgia as much as it is the notion of love. [READ FULL ARTICLE]
Nicholas Altobelli "Vertigo" REVIEW
In fact, ‘Vertigo’ is a collection of songs sheltering many that did not find a place on previous albums (Homeless in fact. Not even a space for them on ‘Without a Home’). That is not to say this album feels like a bundling together of leftovers – absolutely far from it. This is a complete album and, if it might, at times, be lit by an exploration of fragility, it equally raises hopeful eyes too. After telling us “I just can’t run anymore” we are urged to “Go on look out the window, it’s not so bad” (‘Look Out The Window’). ‘Don’t Let the World Get You Down’, on the other hand explores what we mean by (and how we measure) success. There is sunshine after the rain. [READ FULL ARTICLE]