What does Bayonne and Nathaniel Earl sound like?
Turning indie pop anthems into symphonic and electronic orchestrations.
The review of ‘Temporary Time (Scores)’ by Bayonne and Nathaniel Earl
Bayonne is an electronic and indie pop artist who creates the kind of music BBC6 Music loves. It’s a mixture of acoustic murmurings, percussive click-clack anthems, and some smooth indie pop. His 2023 album ‘Temporary Time’ is excellent, and I desperately need to review it for this site, but you do not need to know it to appreciate this spin-off album. ‘Temporary Time (Scores)’ takes four songs from that album and, with collaboration from Nathaniel Earl, completely transforms them into symphonic classical arrangements.
These aren’t bog-standard classical arrangements, though. They are reworked into longer versions of the original, with different instruments taking up the original melodies, and often a whole band backing up the string arrangements. ‘Must Be True’ has a rousing string arrangement that blows the rolling piano waves of the bassline out of the water. Then a full drum set crashes in over the top, bringing with it a stadium rock quality. It is truly cinematic and doesn’t hold back.
This idea of not holding back carries on across the album. ‘Solo’ is an uplifting, balmy track of shivering strings and flutes that evoke a sunny day. Add in some lilting lead strings that drape themselves over the top, and a modern indie pop percussion backdrop, and you have a unique track. The original’s layered vocals are completely swapped out for strings and flutes, but the genesis is clearly there. ‘Come Down’ is a tense, swelling thriller in waiting. The added use of distant choir-like backing vocals over the sweeping drums and brooding chord progression emboldens the track. It falls somewhere between a Nordic folk band anthem and a James Bond soundtrack. Again, listening to the original track from 2023, the chords are the same, yet the muffled, distorted production provides a different emotional impact to this version. Not better or worse, but different.
‘Perseid’ is an original piece, and it takes its time to envelop the listener in its world. The first two minutes are regal, serene, and sumptuous strings. Delicately played, that drip in emotion, as synth effects start to seep in to provide a bass to what is a high octave heavy opening few minutes. It isn’t until the final third of the track that it lets loose. A rolling percussion loop picks up, with piano and other effects pushing forward a dramatic meteor shower of music. It doesn’t quite have a big finale, but it concludes with a satisfying curl into quietness. That leaves the closing track ‘Tabitha’ to lead us home. This opens with beautifully glossy, tuned percussion, ethereal strings, and synthy plucks that tease at the drama to follow. This track reminds me of 65daysofstatic’s No Man’s Sky soundtrack. It’s the most synthy and grandiose track on the album, and its final minute is cinematic soundtrack perfection. What’s interesting is that this track is an instrumental on the original album and packs a punch already. With a fully symphonic approach, this amps it up to 11.
It feels odd to recommend a contemporary classical rearrangement of an album you likely won’t already know about, but I’m going to nonetheless. Bayonne and Nathaniel Earl have worked their magic here to amplify what was already a strong indie pop album into something that straddles genre boundaries and pulls at your heartstrings and excitement for adventure. If you like your string arrangements flanked by big rock drums and soaring strings, grab this release now. You won’t regret it.
Recommended track: Must Be True
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