"Frestonia" is the sixth and final studio album by Scottish band Aztec Camera, released in 1995. Following its release, Roddy Frame, the band's lead singer and primary songwriter, would continue his musical career under his own name. The album's title refers to the Frestonia community, a self-declared independent neighborhood in the Notting Hill area of London. Despite its critical reception, Frestonia was the lowest-charting album by Aztec Camera in the United Kingdom, peaking at No. 100 on the UK Albums Chart. It also reached No. 187 on the Australian ARIA Charts.
Frestonia received a mixed response from critics. Reviewers were divided on the album's sound and overall impact. AllMusic offered a neutral review, while Alternative Rock gave it a modest 7/10 rating, appreciating its emotional depth. Robert Christgau, however, dismissed the album, giving it a "dud" rating, suggesting he found it lacking in substance. The Independent criticized it as "pretty dull fare," noting that while it had some highlights, its arrangements were predictable and uninspired, sometimes failing to match the emotional depth of the lyrics. The Record had a harsher view, describing the album as "a repulsive bit of narcissism" and accusing Frame of sounding like a "poser."
In contrast, Wall of Sound gave the album a positive 80/100 score, recognizing it for its emotional resonance. Author Dave Thompson, in his book Alternative Rock, praised the album's lyrical content, describing Frame as "bruised, battered, and a bit disillusioned by time," yet still a "hopeless romantic at heart." He saw the album as a perfect expression of Frame's inner conflict, with vivid lyrics and evocative melodies. Pitchfork, in 2021, noted that Frestonia was "less musically adventurous" than its predecessor Dreamland, but praised it for its "classic approach to solo songwriting." The softer moments on the album were considered its strongest, as Frame's solo songwriting took center stage, with less emphasis on experimental sound.
While Frestonia may not have reached the heights of previous Aztec Camera albums in terms of commercial success or critical acclaim, it stands as a deeply personal and introspective record, reflecting Frame's state of mind at the time.
