With his second album, All That Must Be, George FitzGerald has firmly established himself as a preeminent figure in the electronic music world and a rare example of a musician capable of making the transition from club producer to album artist.
Featuring collaborations with Lil Silva, Bonobo, and Tracey Thorn, All That Must Be is a richly poignant record that plots a route through the mental and physical landscape of its creator over the course of 18 life-changing months, and in doing so illuminates a more universal set of themes. Focusing more heavily on the piano as opposed to the computer and combining the electronic drums of previous album, Fading Love. The result is a record with a very human pulse and an emotional maturity only hinted at when FitzGerald had his eyes and ears firmly set on the dancefloor. “None of the tracks on this record were composed specifically for a club setting”, explains FitzGerald, “I still wanted to create something fun and enjoyable but, as with the last album, I also wanted to develop a different mood to reflect the changes happening in my life.”
That is not to say he has totally turned his back on the night. There are still plenty of moments of kinetic ecstasy to be found on the album, such as the laser-guided hedonism of “Burns” and “Siren Calls”, it’s just that these are balanced by a more meditative side to FitzGerald’s composition in tracks such as “Passing Trains” or Lil Silva-collaboration “Roll Back”. In short, All That Must Be is just as easily experienced on a long drive at night as under the sweaty lights of a club.