Cradling thoughts and emotions in a hug of melodic enterprise and magnetic warmth, Peach the new album from US indie rock band Late Cambrian is one exciting thrilling dance of vibrant personality and matching sounds. An energetic brew of alternative rock, mesmeric pop, and indie individuality, the second album from the band holds moments of sheer brilliance within a constant wash of imaginative and infectious excellence. Across its landscape of summer driven sultry sounds passions are ignited and ardour bred for an album which leaves a lasting glowing imprint on the senses.
Since the release of their debut album The Last Concert in 2011, the Greenpoint, Brooklyn band has stepped upon a steady and potent rise, the album receiving rich acclaim at home and abroad, especially in Japan, whilst the band has won numerous awards and had songs placed in shows such as The Real World and Married To Jonas. Their video for the song Ryan Gosling pulled in massive numbers being picked up by BlankTV and THECOOLTV, and the trio of John N Wlaysewski (lead vocals, guitars, synth, percussion), Nunzio Moudatsos (bass guitar, backing vocals), and O (Vocals, Synth), made big impressions at festivals such as The KahBang Music Festival, The Dewey Beach Music Conference, CMJ, and The Popfest along the way. It has been a heady time which Peach will surely reinforce and accelerate upon its release on April 30th.
The album opens with the teasing tones of Lovers Point, its initial quickstep of firm rhythms and fibrous guitar strokes soon wrapped in great vocal harmonies. Taking a small breath for the vocals of Wlaysewski to begin the narrative within a warm hug of elegant melodies and entrancing synths, the song lifts its feet for a strolling flow of aural smiles and keen bounce to its gait. It is an irresistible welcome into the album, its demands minimal but rewards plentiful in their engagement and energy.
The tease of The Label Needed A Single wraps its mischief around the ear next, a groaning bassline veining another heated swerve of infectiousness and melodic enticement. Already two tracks in and references to Wheatus are unavoidable but as this track shows there is more to their imaginative devilment to avoid being so singularly tagged. Part pop punk and fully anthemic pop, the song takes the ear and passions to a hop of fluid irrepressible moves and sounds with an intent to raise others energies and voice in tandem to its own securely successful, something which you can lay at the feet of next up The Year I Cut The Cable too. With a swing to its jazz pop eighties whispering romp, the track exchanges heated ardour with the heart, the dual vocal tango of Wlaysewski and the delicious tones of O, her voice another standout glory of so many on the album, exploring song and listener with buoyant enterprise and keenness to match the sounds.
The pinnacle of the album follows in The Wolf, for this heart one of if not the best melodic thrill heard this year so far. As a fiery guitar opens up the airwaves and beats pounce upon the ear there is an immediate hook which the throaty bass and captivating gait of the vocals sends deeper into thoughts and emotions. The track is simplicity turned into a virulent conspirator to the passions, the wanton whisper to the twin interchanging vocals and Eastern delight lined lure playing in the background, epidemically anthemic. Everything about the song is magnificent, pop at its most potent and triumphant and another where the varied and seamlessly twisting devilry has the voice and body of the listener adding their, in my case, blasphemous contributions.
Following such a powerful piece of brilliance would mean a dip for most releases but the likes of Patience Of A Monument with its gentle hazy aired persuasion and Made for Love, a track with a beginning which reminds of Wham!, sorry but it does, and goes on to coat the listener in a rich wash of hot melodies and pop punk sinew, without reaching the same heights have their own distinct plateaus of enjoyable textures and absorbing presences. Featuring guest appearances from violinist Tracy Bonham, Kevin Salem on elbow guitar, and Jack Hsu (The Hsu-Nami) on the erhu, the song is an emotive pleasure with a wonderful instrumental closure.
The track Ryan Gosling has led the band to stronger recognition as much as any song and again is a major force upon the album, the bulging rhythms and wickedly crafted hooks a charismatic grip laying an incendiary canvas for the equally galvanic vocals and harmonies. As with all the songs there is an honesty and lack of complication to the track which allows its rich heart to make the strongest arresting enslavement on what by now is rapture for the album.
The remaining songs continue the scintillating joy and craft already reaped with tracks such as the acoustic led summery skip of Poetry, the sultry Recipe, and the glorious Hypgnotica-Afternoon Special stepping to the fore though there is not one weak or track on the album all just powerfully magnetic. The latter of this trio is an imaginative predominantly instrumental canter through hot and suggestive melodic climes with evolving variation and intrigue to its gait.
Closing with Luddite, another bewitching piece of warm, a closing vibrant sunset featuring guest vocals from Brendan Brown and Gabrielle Sterbenz of Wheatus, Peach is a slice of musical brilliance in quality and effect containing most likely the song of the year, quite simply a must have release…
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