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WONDER VILLAINS Rocky

With a spry sense of gusto the album opens with ‘TV’. It is kept tight and they hammer away with the playing but it is all tracked finely. It is a pop tune that has a minute feel that simultaneously charms. With ‘Blonde’ you get a real feel that you are listening to ‘Steal My Sunshine’ by LEN in places. It is another magical ditty from the band. How it clocks in tees it all up commendably from the off with the saccharine feel becoming a welcome feature. They kick things into touch on ‘Zola’. Invigorated by the captivating abandonment, it steps out excellently and they really show what the hype is all about here. The synthesised sound is felt squarely with ‘33’ which sets out a quickened approach that comes across neatly. When the vocals drop down it is a nice approach. The clean pick up equally elevates proceedings. The drumming and guitar combine on ‘Golden Five’. The overall delivery has a nimble and pert calling to it that is heartily embraced. The twee like appeal doesn’t go unnoticed. Then the album begins to mature as they break away with ‘Fiction’. The rhythm is more sullen and littered with electro nuances that make the ambience felt. Pardon the pun, but this is where things get real. The passive and rotund bounce in the rhythm also calls the shots as much as the other finer points that are kept in focus.

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This is a proper tune with all the makings.The playing is now developed for the album as the slow and detailed keepsake style on show carries over with ‘Linklater’. What opens up for the tune here faithfully catches a lot in a way that keeps their cool ethos in the equation, but also brings through a concrete tune in the process. They return to the retro on ‘Debbie’. The celebratory way they connect the dots is brilliantly matched with how the synth brilliant scores the delivery. ‘Ferrari’ is arguably the standout track on the album. Blissful turns in the tempo swamp the delivery which formidably adds urgency to how it picks up. The vocals are also an excellent calling on this one but it the brilliance of the anthemic punch that sells you.

A more ornate yearning sends ‘Baby Don’t Look So Sad’ on its way. It is a telling tune and definitely a stand out on the album. How it is layered allows the playing do its part. Another fine showing is noted in the vocals which pour out with sincerity along with the lyrics. It is a well thought out effort and channelled accordingly. Next song ‘Marshall’ is another excellent tune with a refined manner in the beat getting beneath the delivery to carry it all the way through. It is fluid and they lean on the harder approach here which brings out the best in the tune overall. The chirpy calling of ‘Oh Peter’ brings the album to a close. It catches things in a savoury way while also lighting it all up with the amiable turning in the delivery. The whip from the guitar rounds it all out and it brings the curtain down in the way it opened in terms of style, but also keeping the retro charm at the front. - 26 -

Unsigned & Independent (July 2014)  

The July 2014 issue of Unsigned & Independent features an interview with Vann Music. We also talked with Crow Black Chicken to discuss Texa...

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