Renowned as the frontman of South London indie pop/power pop outfit Bromide, Simon Bromide has just released his debut solo album, a release which suggests his own collection of songs will draw as much keen attention as those from his ‘day job’.
Following The Moon is a collection of indie /garage rock songs with a power pop energy and mischief, each fuelled by a sound which openly bears the inspiration of Ray Davies and the Kinks. Equally there is a punkiness to his rock ‘n’ roll, a Nikki Sudden like urge and trait which adds to the temptation and pleasure soon found within the release.
London-based Bromide (aka Simon Berridge) had already awakened eager curiosity with his album’s lead single, The Waiting Room, and it is that track which opens up Following The Moon, the album also featuring drummer Fells Guilherme (Children of The Pope) and bassist Ed ‘Cosmo’ Wright, and multi-instrumentalists Dave Hale and Dimitri Ntontis amongst many guests. Immediately the song’s warm jangle grabbed ears, its warm invitation drawing ears and attention into Bromide’s descriptive words, the song instantly hooking our rocker instincts. Yet, it is a song which crept up on us as to how potently it had sparked the imagination, one which kept coming back in manipulative prowess away from the album’s actual presence.
The equally potent Chinua Achebe follows and instantly caresses ears with acoustic strokes and the teasing bait of a rockier intent. Both aspects are realised further as the track hits is magnetic stroll, its swing infectious with Bromide’s tones just as catchy in breath and lyrical prowess before latest single, The Skehans Song, grabbed a firm hold on attention. With the piano of Katy Carr luring ears within the social gathering of creativity and reminisces, the track is a gentle walk through nostalgic spirit rousing homage to one of South East London’s longest running acoustic nights, The Easycome.
Not That Type has a bounce in its step which again proved impossible to evade. Warm flourishes of keys and a rhythmic insistence more than help fuel that increasingly potent persuasion as too Bromide’s ever engaging presence and words, they united keeping ears and feet eager before The Argument took a firm hold on favourite song choice. The track was irresistible, its gunslinger stand-off stance and wild west tension bringing forward romance bred conflict with rich presence and theatre, one only escalated by the Mariachi nurtured strums of guitar and Terry Edward’s fiery trumpet.
Though maybe next up Slow Release Love did not reached such heights in the passions, the song certainly got under the skin with its Lloyd Cole hued contemplation and melodic intimation while the album’s title track cast a web of tease and satisfaction through its raw sonic tendrils and subsequent melodic and orchestral honed musings, a slight Bowie like essence adding to its initial and continually growing draw.
Reflections of Seating gently yet skilfully urged keener attention by the listen too, that Ray Davies influence at its most insistent and compelling within the animated ballad with its eventful shuffle and resourceful enterprise again graced by Carr’s piano.
With Scottish singer Julie Anne McCambridge joining Bromide on the album closing Earth’s Answer, their vocal and his acoustic guitar hug of the William Blake penned poem bound within atmospheric winds, Following The Moon completed its engagement with ears in captivating style.
Highly enjoyable on first listen and increasingly compelling thereon in, it is a release for which a strong urging of your exploration of its pleasures is easy.
Following The Moon is out now via Scratchy Records; purchase options @ https://smarturl.it/followingthemoonalb
Pete RingMaster 10/02/2022
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