There is little preparation for the strange flux that greets a musician when a band ends. For the past decade – since he was just 16 years old, Ed Nash had been known as the bassist for Bombay Bicycle Club, one of the UK's most esteemed indie bands. But in early-2017, when the band announced that after four albums and endless tours they would be going on indefinite hiatus, Nash found himself faced with the curious task of working out what he wanted to do with his life. "And it was really strange," he says. "It was only at the point when the band stopped that I actually made the decision to be a musician."
The problem, Nash is keen to point out, is that "no one really cares if the bass player's going to do a solo project." But it was through the acknowledgment of such preconceptions that Nash found the name Toothless – a name he describes as "kind of a joke to myself really" – a nod to the fact that some might expect the bass player's solo album to be inconsequential, "that it wouldn't have bite or substance, that it's toothless." Yet Nash's debut is an unexpected and glorious thing; an album that reveals the secret musical life he lived away from his bandmates, full of "the musical ideas that would come to me, and lyrical ideas I've been collecting all my life."
The Pace of the Passing is more song cycle than a simple collection of tracks. It is marked by its sense of completeness – its themes and preoccupations extending from its lyrics and musical motifs right through to its artwork: thoughts of gathering time, of love and death and relationships past that draw on Greek myth, astronomy, and the work of Charles and Ray Eames, invite guest vocals from The Staves, Marika Hackman, Liz Lawrence, and Tom Fleming from Wild Beasts, and display a love for music that is fiercely melodic, multi-layered and fine-spun.