Bullion | Nearly [Ghostly International]
Electronic Pop / Synth-Pop / Art Pop | 2026
Nathan Jenkins has spent years developing an unusually personal approach to electronic pop, both through his work as Bullion and his production for artists including Carly Rae Jepsen, Avalon Emerson and Westerman. On "Nearly", released September 25, 2026, he concentrates that experience into ten compact songs. The arrangements are spacious, the rhythms carefully measured and the melodies frequently interrupted by unusual vocal phrasing. Jenkins gives his own voice greater prominence, allowing uncertainty and humor to coexist within music that remains consistently melodic.
The opening "Very Few Inspirations" establishes the album's restrained approach. Its sparse instrumentation gradually develops into a delicate vocal melody, with reverberation extending the phrases beyond their expected endings. Jenkins seems comfortable leaving musical ideas partially unresolved. "Roo" follows with a firmer rhythmic pulse and a repeating synthesizer figure that provides the track's momentum. The vocal delivery is conversational, with curious lyrical references to writers Joan Didion and Robert Creeley. There is genuine wit in the phrasing, although the song's appeal also depends on the precise relationship between its bass movement, electronic percussion and gently shifting harmonies.
"Francis Ford" provides one of the album's clearest pop moments. L Devine's guest vocal adds melodic definition to Jenkins's restrained performance, and the two voices complement each other without losing their individual character. The synthesizers maintain a steady rhythmic movement while the vocal arrangement supplies much of the song's emotional development. Jenkins has a particular talent for writing melodies that remain memorable despite irregular phrasing. Here, that quality supports a direct and effective chorus. The collaboration also demonstrates how carefully he manages the available space in a mix. Each vocal entrance receives sufficient room to register.
The album becomes increasingly interesting when Jenkins allows melody to develop beyond conventional verse structures. "Ok Parsley" builds its character through insistent arpeggios and extended wordless vocal passages. The synthesizers repeatedly change emphasis while the singing follows a fluid melodic course. "Young Shiver" takes another approach, using layered vocal harmonies and subtle electronic movement to establish a reflective mood. Its comparatively gentle pulse leaves the upper register open for small changes in pitch and texture. Both tracks demonstrate Jenkins's confidence in arrangements that develop through incremental changes.
"Forget Performer" introduces a greater degree of rhythmic activity, but its most interesting details occur around the principal beat. Cymbal sounds linger, the vocals recede into sustained reverberation and the closing passage introduces unexpected shifts in the arrangement. The song's irregular ending is particularly satisfying because Jenkins resists extending the central idea beyond its natural duration. "The Arm of Cinderella" brings L Devine back for a second appearance. At under two and a half minutes, it concentrates the vocal collaboration into a brief, melodic exchange. Its short duration contributes to the album's overall economy, although the arrangement could support further development.
The instrumental "Applegene" is an important change of pace. Guitar and bass contributions from Ethan P. Flynn introduce a distinctly physical quality to the performance, while Jenkins's synthesizers retain the album's characteristic harmonic detail. The guitar phrases are carefully articulated, and the melodic movement is allowed to develop without a conventional lead vocal. The track demonstrates how much of Bullion's musical identity resides in his arrangement choices. Small alterations to instrumental tone and timing provide enough variation to sustain the piece.
Across the album, Jenkins repeatedly favors restrained percussion and carefully placed instrumental details. His singing can be elusive, particularly when reverberation obscures the ends of phrases. That approach gives the songs a distinctive intimacy, although the middle section occasionally suffers from limited dynamic variation. Several melodic ideas end before their full potential has been explored. These decisions are consistent with the record's compact structure, but they also prevent some tracks from achieving the emotional impact suggested by their strongest passages.
The closing sequence brings the songwriting back into focus. "I'm Not Hooligan" maintains the album's understated vocal character, while "101 Damnations" offers a particularly satisfying combination of synthesizer melody, guitar and rhythmic momentum. Its clear melodic development provides an effective conclusion to a record frequently concerned with hesitation and incomplete thoughts. The songwriting remains eccentric, but the arrangement gives those qualities an accessible musical form.
"Nearly" follows 2024's "Affection" with a concentrated collection of songs that places Jenkins's melodic instincts and vocal personality at the center of his work. His production is detailed without becoming congested, and his arrangements contain enough harmonic movement to reward repeated listening. The occasional shortage of dynamic contrast prevents the album from reaching its full potential, yet its strongest tracks demonstrate considerable compositional discipline. Jenkins has created a distinctive electronic pop record whose quieter passages contain some of its finest musical decisions.
Rating: [4/5]