Like a favourite candy, the ROYGBIV EP from Australian shoegaze popsters Flyying Colours, is richly flavoursome, addictively captivating, and impossible not to treat oneself to another portion of. It is a delicious slice of aural contagion wrapped in inescapable melodic seduction, and one addiction it will always be ok to indulge in.
Hailing from Melbourne and formed in 2011, Flyying Colours cite My Bloody Valentine and Fleetwood Mac as influences to their own sonic explorations and with the former an immediate spicing and the latter becoming more apparent over listens, they make a healthy spicing to something individual to the band. Similarly the compelling beauty of a Lush and the psych pop seducing of House Of love also nudge comparisons yet there is a bolder, almost bruising texture to the Flyying Colours sound which adds stronger uniqueness to the creative theatre of songs and EP. 2013 saw the release of their self-titled debut EP, a full introduction to their attention grabbing, raw beauty clad sound which came after the first teaser of the single wavygravy. Its qualities and lures are now explored with new intensity and adventure through ROYGBIV, a success with the potential of awakening a really broad spotlight upon their presence.
Single songs and the EP as a whole, are as rich in aural colour as its title suggests, but an evolving kaleidoscope of sound rather than a structure of individually layered hues just lying against each other. It all has a changeable and transfixing quality which starts with I Don’t Want To Let You Down. A sonic jangle works on the senses initially with its bait quickly joined by the thick beats of drummer Andy Lloyd Russell. The persuasion of guitar expands the moment the two meet and collude in awakening imagination and appetite, a sonic smoulder with a lively underbelly casting its spell on ears as the equally magnetic vocals of guitarist Brodie J Brümmer caress. The song continues to stroll with warm intent, getting feisty at times especially in a vivacious chorus which sees second guitarist Gemma O’Connor add her siren-esque tones to the mix. The bass of Melanie Barbaro is arguably the most laid back thing on the increasingly fiery encounter, yet her strings only add thick seduction through their thickly magnetic shadows within the blaze of the song.
It is a potent and infection clad track quickly backed and surpassed by the voracious shimmer of Running Late. Guitars jangle and dance in ears, offering a feel of British eighties indie pop a la Orange Juice and Josef K, whilst both vocalists twin up their mellow tempting to stroke ears. There is an unmissable sparking between textures in the song, igniting the thick sonic haze of the encounter further and indeed a sway of bodies and movement of feet and emotions before it.
The increasingly impressive adventure and ascent of the release continues with Not Today, and straight away the song has ears and thoughts spellbound as an opening melodic mist is pierced by one invigorating and tantalising bassline. Its groove is matched by those of the guitars and also in the more low key post punk vocal delivery of Brümmer. That post punk essence is throughout the EP but especially here makes the most delicious lure, suggesting that if Joy Division had gone funky with their sound it would have been something akin to this hex of contagion. Spicy hooks and a rhythmic swagger relentlessly feed a quickly hungry appetite and impassioned lust for the incitement and it is no surprise the song is the lead invitation to the EP, and indeed a favourite across the band’s recent UK tour with Pinkshinyultrablast.
In The End emerges from the closing strains of the triumph, swiftly laying down its own virulent persuasion though reining in the dramatic urgency of its predecessor just a touch as it wraps ears in a thicker smooch. Like the last track though, it barely takes a minute before full involvement of the listener is enticed, the still tenacious energy of the song inescapable incitement to the body as feet tap rigorously and hips swerve to the flow of the proposal.
Final track Leaks almost bludgeons its way into view in comparison to other tracks, the muscular snarl of bass and matching jabbing beats a heavily boisterous lure courting a caustic yet bewitching sonic mesh of sound from the guitars, it all coloured again by the immersive vocals. It is a fiery end to the release, and another irresistible song showing, as each proposition within ROYGBIV, another twist to the sound and invention of the band.
Flyying Colours is cast as shoegaze but their outstanding EP proves that there is much more to their voraciously bubbling shimmer of sound, plenty to appeal to fans of melodic and psychedelic rock as well as those of psych and lo-fi pop.
The ROYGBIV EP is available via Club ac30 in the UK @ http://store.clubac30.com/products/548073-flyying-colours-roygbiv-ep and in the US on Shelflife @ http://www.shelflife.com/catalogue/LIFE126.html now!
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This article is misinformed. Percussion and bass for ROYBIV was performed by original members Josh and Sam Dawes. Talented loss.
Thanks for the heads up. The press release gave no indication that those guys were involved in the release so thanks for the info, much appreciated 🙂