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I first stumbled upon Spanish Love Songs via their previous EP, *A Brief Intermission in the Flattening of Time*, which went on to become the #1 Indie Launchpad EP of 2025. I especially loved "Cocaine and Lexapro", which I still find myself playing a few times a week.
 
I'd heard a while ago rumours of a new album, but last week I received an email inviting me to an early listen. It's an offer I was never going to turn down. That first listen gave me a flavour of what was to come, and I was left in no doubt that this was going to be a great album. However, I didn't have my reviewing ear solely focused on the music, so now it's time to give the album the listen it really deserves.
 
First off, I have to say that I really don't like the album cover. I get that there's a certain irony to it, given the name of the album, but I think there were potentially other ways to get the same message across. A small gripe, admittedly, and I wouldn't be surprised if others vehemently opposed my view.
 
Opening with the title track, "Future Nausea", I was initially reminded a little of Sparks, thanks to its hammered piano. Within a few seconds, though, there's no mistaking those vocals. The track has a great driving beat, enhanced by the aforementioned piano, and it's certainly a foot-to-the-floor affair. A cracking start to the album.
 
With barely a pause for breath, "Good American" follows, hitting with a slightly rockier edge. While I really like the track, I struggled to pull out any deeper insight into it. There's something to be said for a song that simply gets under your skin through its energy, arrangement and sheer enjoyment factor. Sometimes taking a song at face value and just enjoying it is more than enough.
 
"Welcome to Hell" initially starts in a similar vein, but as soon as the keyboards kick in, it takes on a very different aesthetic, with an almost 80s tinge. I've made comparisons to Talk Talk's Mark Hollis before, but there's been another vocalist that the lead vocals have reminded me of, although I just couldn't put my finger on it. Finally, on this song, it came to me: Bryan Ferry, former frontman of Roxy Music. It's not a direct comparison, but there are occasional vocal flourishes and acrobatics that are strikingly similar.
 
That 80s undertone continues with "New Fears", although here it's more of a subtle accent. The vocals, on the other hand, are very much front and centre. They're such an integral part of Spanish Love Songs' makeup, bringing a drive and energy that perfectly complements the musical accompaniment. It's a combination that really works.
 
Dropping down a gear, "Living Blues" is lyrically a dark track. Initially, I found that darkness somewhat at odds with the music, but the more I listened, the more the two seemed to come together. There's something quite effective about that contrast, with the musical arrangement providing a counterpoint to the lyrical content rather than simply reinforcing it. It makes for a particularly interesting listen.
 
And we drop down yet another gear with "Jan666", which so far is helping to give the album a really nice balance. The track starts with what sounds like a xylophone, before the bass and drums kick in to provide its heartbeat. It gives the song a very different feel from what we've heard so far, but one that I think works exceptionally well. It's another example of the band being comfortable enough to explore different musical territory without losing their identity.
 
I love the intro to "Doomtripping", although there's a hint of misdirection, or perhaps more accurately, a foreshadowing of what's to come. As the song gets underway, we're back to that infectious beat and clever wordplay, which I think are two of the band's defining characteristics. For me, this is absolutely one of the highlights of the album.
 
There's no getting away from the 80s influence in "Shadowland", and I think it's probably time to set the record straight. When I talk about the 80s, I'm not suggesting this is some nostalgic callback to those heady days, but rather an affectionate nod to the sounds and instrumentation of the era, perhaps more specifically the keyboards. There's a difference, and I think it's an important one. These influences feel woven into the band's sound rather than being used as a gimmick.
 
"No Dreams" starts with an almost industrial sound, which is soon tempered by acoustic guitars, giving the song a rather unique character. It offers something of a respite from the faster-paced earlier tracks, but don't let that fool you. It still feels like a cohesive part of the album, helped in no small part by the common thread of those unmistakable vocals. It's another welcome change of pace.
 
I was very much expecting "Future Nausea Pt.2" to be something of a continuation of what you might consider its predecessor. While it certainly shares the same future-focused theme, that's pretty much where the direct similarities end. It's not so much a second chapter musically as it is another interpretation of the ideas behind the title, while still carrying the same DNA that runs throughout the album.
 
I think "See You on the Way Out" is the first track that doesn't quite share the same musical makeup as those that have gone before it. That certainly doesn't diminish the song in any way. In actual fact, it comes as a rather nice surprise, and once again demonstrates just how well the band manage to balance different sounds and approaches across the album. It keeps things interesting right when you might expect the formula to become familiar.
 
That sense of thoughtfulness and balance continues into the final track, "Until the Sun Explodes". Again, it's distinctly different from the preceding tracks, but very much what I feel is the right song to close the album. It's a relatively simple acoustic track, with a more melancholic tone. Sometimes that's exactly the right call, particularly at the end of an album that has pretty much gripped you throughout. Rather than going out with a bang, it leaves you with something to reflect on.
 
As I mentioned earlier, "Cocaine and Lexapro" has been my favourite Spanish Love Songs track up until now, and I still think that's the case. There's undoubtedly an element of familiarity at play, given that it served as my introduction to the band, and therefore carries a particular emotional weight for me. That said, this album has certainly given it some serious competition.
 
I see a lot of reviews of the band, and the term emo is bandied around endlessly. I can certainly hear that influence, but for me, this is very much the pinnacle of indie rock and pop. It's music that invites, excites, comforts and reflects, often managing to do several of those things at once. There's an emotional depth here, but it's matched by an infectious musicality and a willingness to explore different sounds without ever losing sight of what makes the band distinctive. While lyrically dark, I have to admit that for me, I felt much more drawn to the music, but I'm sure with repeat listens the lyrical weight will unfold, adding another dimension to the album.
 
Ultimately, *Future Nausea* is an album that has kept me engaged from beginning to end. It's varied without feeling disjointed, has plenty of moments that demand a second listen, and leaves you wanting to return to it. I don't hand out album of the year contender status lightly, but this is very much a serious contender. Spanish Love Songs have set the bar exceptionally high.

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Future Nausea

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