NEW ALBUM 'NOBEL RAT' OUT NOW
W:Mandy Morgan
US-born, Edinburgh-based artist Alas De Liona has carved out a striking space in the alternative scene. Following the quiet, ethereal, and critically acclaimed introspection of her 2024 debut album, Gravity of Gold—which earned widespread press support from Clash, The Line of Best Fit, The Scotsman, BBC Radio Scotland, The Skinny, The Arts Desk, and more—she has returned with a bold, cinematic evolution.
Her second album, Noble Rot, trades the stripped-back, downtempo melancholy of her earlier work for an up-tempo, 80s-tinged post-punk drama. Doubling as a solo concept album and the first soundtrack to a vampire tale Alas is developing for the screen, the record weaves heavy vampire symbolism with sharp themes of alienation, authenticity, and navigating a world where you don't quite fit in. Recorded at Post Electric in Leith and produced by Rod Jones of Idlewild, Noble Rot stands as a masterclass in gothic alt-pop.
Noble Rot takes listeners on a seamless journey from brooding parlors to high-energy dance floors through a richly layered tracklist. The darker, more introspective end of the record is anchored by the hypnotic ballad "Premonition" and "The Vespertine"—which tackles grief and longing—alongside the dark folk touches of "Vows" and the mellow, spooky atmosphere of "Vampire Song." From there, the record is pulled firmly into cinematic, 80s-infused post-punk territory by the bass-led bop of "Ex Cathedra" and the sleek, vampiric single "Hunter I." Finally, the album's narrative core explores diverse sonic landscapes as art-rock experimentation shines on "Familiars," contemplative alt-pop drives "Hunter II," myth and legend collide in the indie jam "Quarries," and "Shale" confronts complicity head-on before the record closes with an ethereal reworking of the previous single "For Forever."
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To understand the sonic palette and literary lyricism of Noble Rot, one need only look at the deep musical roots that shaped Alas growing up. Her "lifeboat playlist" bridges haunting confessionals, 80s synth-pop, and timeless storytelling:
Fiona Apple -"Paper Bag''
I was about 5 years old when Tidal came out, and my older sisters listened to it constantly. I memorised the lyrics to Paper Bag soon after, and through the years as my comprehension developed I was repeatedly struck by how skilful and succinct the lyricism is. She balances so many elements of powerful songwriting: emotional catharsis, well-executed metaphor, a narrative flow, and punchy phrasing that makes it really satisfying to sing along to.
Tori Amos – "Winter"
I listened to Little Earthquakes so much as a kid. It’s another that really permeated my subconscious. This track introduced me to the possibility that instrumentals could reflect the lyrical content - that the song itself could sound cold. It’s also such a bittersweet reflection on parental love and self love.
New Order – "Blue Monday"
This was one of the first tracks as a kid that got me interested in synth-pop. I was just really drawn to the hypnotic, dark elements translated into something uptempo and danceable. It was also one of my early forays into the realm of post-punk.
The Cranberries – "Dreams
Since I’m going with songs that were formative to me as a child, I have to include Dreams. Specifically with vocals, I believe Dolores O’Riordan was hugely influential to my sound.
This Mortal Coil – "Song to the Siren"
Like so many, I was completely transfixed when I first heard this song, and must have listened to it on repeat for a solid month. I love a haunting sea shanty and the folk to dream pop trajectory of this tune’s history is fascinating.
Le traiettorie delle mongolfiere - Gianmaria Testa
When I was about 12 I became obsessed with the quick and hypnotic phrasing in this song. The lyrics are contemplative and poetic, painting the picture of hot air balloons suspended in the sky. It’s a lesson in the gentle poignancy of a well-crafted image.
Elliott Smith – "Miss Misery" (Early Version)
The version of Miss Misery prior to the “Do you miss me, Miss Misery” chorus always hit so hard. It is so filled with quiet longing and grief.
Take This Waltz (Paris Version)
Some of the most poetic lyrics ever written, which makes sense because it was adapted from Lorca’s Little Viennese Waltz. And the 3/4 time lulls you into a trance. Just an incredible piece of music with such emotive backing vocals from Jennifer Warnes.
The Strokes: I’ll Try Anything Once (“You Only Live Once” demo - Heart In A Cage B-Side)
I had a real soft spot for melancholic, nostalgic bedroom pop in high school, and there was something about the gentleness of this demo that kept me coming back to it.
Crimson & Clover (Tommy James &the Shondells/Joan Jett &the Blackhearts)
Both versions of this song were huge for me as a young person. I would describe my taste in music as fairly earnest, prioritising sentiment and melancholy over technical prowess. Crimson and Clover is a great example of this - just a really solid psychedelic rock/pop tune that I enjoyed covering in some of my first bands.
Santo & Johnny – "Sleep Walk"
This was my favourite song for years. It’s pure nostalgia and longing. It’s a bit overused 1950s period films and TV, but that’s okay. There’s a reason certain songs resonate with wide audiences. They tap into something real.
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MY TWO GUILTY PLEASURES ARE:
Oo-De-Lally (From “Robin Hood”) - Roger Miller
This one is a long favourite of mine and one of the first songs I ever covered on guitar. It’s so fun to perform and has inspired a few of the lightweight, folky tunes I’ve written.
The Power of Goodbye - Madonna
I think I’ve called this a guilty pleasure because it’s kind of a dramatically sentimental pop ballad, but I’m still unironically very into the production of Madonna’s Ray of Light album. I found it pretty mind blowing as a kid, and still really enjoy it on a nighttime drive.