The opening rhythmical sounds of a typewriter, obliterated by heavy driven guitars and solid drums provide a showcase beginning to Nearly Man’s first track Hit the Button. Mike Marlin sounding like a younger David Bowie orates "I don’t get paid for my bad behaviour" and dreams of slamming someone’s head in a photocopier, it is as if Mike has found that music can be a release for the frustrations of the office. Name dropping the likes of Costello and Weller as influences, certainly gives an idea of the shape of Mike’s music, although we are talking of music inspired by those artists, but relevant to today’s market.

Not Perfect is not a reference to the track, but more about Mike’s own failings in not expressing his feelings to a loved one, although recognising that expressing those feelings would mean nothing, but losing that loved one would mean something. Maybe it’s a man thing? Style wise it’s more expansive with the use of backing vocals and more echoey vocals that lies somewhere between Bowie and The Editors.

By In the Basement there is a real comfortable feeling about Mike’s music. It is strong, bold and with the horn and harmonies on In the Basement there are nods in the direction to Blur, which may appeal to the younger age range of the musical market place. That actually maybe the one problem with Mike Marlin, this is music written by a grown up and one without a back catalogue to orally hear the development to this point; although as Mike quite clearly states in interview “I would love to have a musical past but I would hate to live with it”.

The piano and funky opening to Play That Game immediately marks a high point on Nearly Man as Mike imparts his humour on the listener. Lyrically this demonstrates that Mike’s experiences over the last 25 years have not been wasted, although the idea of fashioning a ship out of paperclips sounds quite an interesting pastime! From the first refrain you know Play That Game is crying out for a saxophone solo and Mike doesn’t disappoint and as the track moves towards its conclusion one emerges, brilliant stuff.

Despite the initial thoughts that Undercover Genius maybe another inspired moment of musical hilarity, it is quite a downbeat number, with the initial soft sampled beats giving way to acoustic guitar and choral backing vocals, with the addition of strings providing that melancholy feel to the track. In reality with Nearly Man being influenced by such a long period of time, there's plenty of scope for reflective tracks and this is what makes the album such a rich treasure trove and so wonderfully creative for a debut album.

The title track of the album Nearly Man is an interesting end to the album. Featuring Mike reminiscing over his life; where he says that at school he wanted to be a millionaire tramp as he’d have all the money, but nobody would know or be able to get at it. Mike’s life story is provided in spoken form, with some vocally affected shouts and the harmonic singing over the top, which due to the laid back nature of the music is a brandy-esque ending, yet Mike still has the last word and the track suddenly ends on one word and that word is "fuck".

So to return to the beginning how many quality musicians are there out in the world of business, who could be producing polished debut albums such Mike Marlin’s Nearly Man? If Mike is a trailblazer for the 40/50-somethings then on the basis of this album, then we should all be very grateful.

Reviewed by Jimbo Walsh

Mike Marlin’s album Nearly Man is available now to download from Amazon.