An inescapable transfixing, Niagarama the new album from Scottish chamber pop band How To Swim seduces with an irresistible charm and almost devious artistry which simply enslaves the imagination and passions. It is a deliciously varied and adventurous escapade, a melodic emprise which is as unafraid to tease and tantalise as it is to lie romantically upon the ears and senses. In many ways the band is still a relative secret, inexplicably escaping so far a spotlight which their new full-length definitely suggests they deserve, but now with its unveiling you can only imagine and expect that whisper of recognition to soon become a roar.
Formed in 2000 by vocalist/guitarist Gregor Barclay, How to Swim has persistently intrigued and ignited thoughts with their releases and evolving sound. From a rawer encounter the band has developed an orchestrated pop which devours ears as vivaciously as ears devour it, with Niagarama the pinnacle of the band’s rise so far. Numerous line-up changes have come within the life of the band and now from a complement of personnel reaching double figures the band has become a lean mean pop machine featuring members of The Second Hand Marching Band, The Martial Arts, and the now-defunct Mother and The Addicts, but a sextet just as potent in presence and weight of invention as ever. The new album also sees a wealth of talented guests helping realise the songwriting and imagination of Barclay and the Glasgow band, and the exploration of ‘the loss of youth and how we process it’, the album’s core theme amidst a pungent metaphor indicated by its title. It is a magnificent beast of enticement, one to have feet dancing, imagination painting, and emotions reflecting.
Released on their own Personal Hygiene Recordings and the successor to the acclaimed Retina (or More Fun Than a Vat of Love) of 2010, Niagarama takes little time to fascinate and subsequently bewitch as Niagara opens up the fun. From a haunted intro the song cups ears with poetic keys and the coaxing expressive tones of Barclay, his voice a slightly gravelly but alluring enticement which fits perfectly within the piano melodies and emotive strokes of strings from their manipulative bows. It is a surprising entrance into the album, a potent croon which does not ignite senses and emotions but certainly stirs them up nicely for the following triumph of Small Parts Moving. The second track instantly grips attention with discord kissed rub of violins immediately courted by darker bass hues and great twisted teasing of guitars. The song is soon in full control of the emotions as it hits its stride, brass and vocals adding their descriptive hues to the emerging narrative. Bouncing with the appetite of pure pop but equally twisting it with an invention which crosses numerous styles and veins of sound, the track dances eagerly like a mix of James Cook and Union Starr.
With an inspired rapturous hunger now in place the following Bacterium feeds it again with its insatiable bait complete with a swagger clad melodic tempting and rhythmic shuffle matched by vocals and brass. An essence of Young Knives brings further depth to the persuasion, whilst the mischievous heart and swing of the song simply enslaves body and soul. It is a glorious romp matching its predecessor in setting an early lofty plateau for the album. With mesmeric devilry to the guitars and the gait of the encounter, the band envelops the listener in a weave of feisty seduction which is straight away pushed to greater success by Too Old For A Crush (To Be Endearing). With firm rhythms aligned to imagination clasping swipes of riffs, brass, and elegant keys, all under the spell of the excellently blended male and female harmonies, the song is an irresistible temptress; a seductress which steals even greater submission through sudden blazes of intensity and concussive voracity. It is a scintillating waltz of beauty and ferocity, a dramatic show with the carnivalesque suasion of Tankus The Henge and the rapacious ingenuity of 12 Stone Toddler, yet rigorously unique to How To Swim.
Both It Doesn’t Even Have To Be You and I Need A War keep the album in control of attention and greedy appetite, if without quite matching earlier heights. The first recalls the fluid warmth of eighties bands like The Lightning Seeds which soak radiant melodies and brass flames with extra infectiousness skirted by the emotive strings which constantly provide the colour for emotions and thoughts to cast their individual premises. Its successor from a slow and charming vocal/acoustic embrace glides in on a seventies pop like breath, with again strong blends of harmonies to fill its emotional embrace. It is an appealing start but one which does not take a firm hold until a rhythmic adventure and a web of guitar sculpted ingenuity takes over the tempting. The song then swiftly moves into unpredictable scenery which entwines both aspects of its intent for a thoroughly satisfying sultry proposition.
The brief INTERMISSION: The Dead Cat Bounce steps in next for an ok diversion before the jazzy waltz of Long Division takes ears on another seventies bred mystery with exciting rewards. The song merges funk and pop into its lively yet smouldering saunter to capture the imagination once more before the potent Bark steps in to steal the passions all over again. Managing to be melancholic and excitingly buoyant simultaneously, it an effervescent whirlwind of invention and emotions, the track is gorgeous with keys and strings along with the ever inviting vocals taking top honours.
The album closes with Animals and All That We Wait For, two songs which certainly in the case of the first are almost toying with thoughts, inflaming their creativity with a weave of inspiring musical imagination. An electronic simplicity marks the first of the pair whilst a vocal caress within a flight of engrossing strings and absorbing melodies ensures the final song brings a compelling last incitement to bask in. The song takes longer than most to convince but with a riveting Walker Brothers like sixties magnificence to its emerging grandeur, it is another immense highlight of the album.
Niagarama is quite sensational and surely the key to taking How To Swim into the recognition and burning spotlight they have long suggested through their music and invention that they deserved. Pop does not get any better than this, or as imposingly impacting, a must release for all.
It may have taken ten years to reach our ears but the incredible debut album from Union Starr earlier this year was a definite worth waiting for event. Falling Apart Together is a magnificent collection of melodic heartfelt songs which simply turn any sky into one of blazing sunshine. The new double A-sided single from the album offers two of the ripest melodic fruits within its vibrant body and for those yet to discover the delights of Falling Apart Together makes for a very tasty introduction.
Formed by Roger Wells and Jason Applin with ex-The Sundays drummer Patch Hannan coming in not long after, Union Starr is a collection of musicians who know and understand how to mould melodies and emotion into something which plays and entices the heart. The tracks which make up the release alone offer two of the finest emotional caresses upon the senses you could imagine and enjoy. Released through Woodenhouse Records, the single graces our ears from August 13th and brings views and ideas from the band on love and its experience. As marks their music on the whole both songs explore an elegant mix of warm pop and singer songwriter sounds of the seventies with a British awareness and craft. There is also a strong eighties indie feel to their sounds which bring to mind just as vividly the likes of The Lightning Seeds and The Bluebells as they do Crosby Stills and Nash.
Everything We Say is a mesmeric weave of stirring heated guitars and heart driven emotiveness through songwriting and vocals. Its touch is warm and smooth yet with an edge which offers up the whole story which comes with every real love. There is a definite Skylarking era XTC feel to the song for a secondary enchantment to the already sirenesque pull of the song. With a subtle but strong infectiousness the song is a summer day delight, its premise conjuring eager whispers of couples within the rays of the sun and heart to thoughts. The song has a sound which arguably only English bands can conjure no matter their influences; its presence caring, touching, and openly delicious.
Second song I Can Feel It provides the ear with another golden field of warm and contagious sounds. There is a folky pop air to the song to offer a different bewitching to its companion though both bring a dreamy almost meditative atmosphere upon the senses. The song is a soft and gentle romance of infectious melodies and beautiful harmonies which remain just as fresh after the hundredth listen to how they do on the first aural kiss.
If you are yet to discover Union Starr than the double delights of Everything We Say and I Can Feel It is the most majestic doorway to their wonderful world of sounds. Catch the songs on The Reputation Radio Show too on Fridays nights from 9PM in the UK.
Damn Damn Patriots play buzz-saw pop or to give it an image, it is like having an aural visit to the dentist with an insistent and perpetual drill resonating within the senses. It is something quite simply sensational as proven by their new album Duke It Out with Damn Damn Patriots. Consisting of ten tracks spanning a mere twenty two odd minutes in true punk fashion, the album is an unapologetic brew of pop punk, garage punk, and roughened pop, basically a feisty feast of rock n pop and punk n roll. It is irresistibly infectious, a sonic contagion as virulent as any air borne germ with open mischief at its insatiable heart.
Damn Damn Patriots are a quartet from Reading, UK who originally formed as a three piece warm up band for a local venue, the Know Your History Club. The band evolved to a quartet of vocalist and guitarist Jason Applin (also of Union Starr), guitarist Kev Wells, drummer Patrick Bingley, and bassist Mark Smith, though he has recently left the band, and with a back to basics air recorded and mixed the album in just seven days. This instant and uncluttered premise gives a wonderful raw energy and excited breath to each and every song on the release as well as a nostalgic prompt back to the days of do what you want punk.
The teasing opening chords of Keep Swimming, instantly grabs the ear as it bursts into the first of the parade of reverb and discordant soaked songs. With a garage punk sound of scuzz and impetuous energy the track is a far too brief slice of trashy excellence and the perfect opener to what emerges as one of the most exhilarating releases this year so far.
The high quality is continued and raised by the following A Bible And A Bottle of Pills. A hook as infectious as any Pete Shelley has ever conjured entices the ear initially and is a frequent tease throughout another electrified burst of scantily clad melodic wantonness. With a bruising bass line and scathing guitar tones the song is a feverish rascal of distorted sixties garage sounds.
Bam Bam lets the peddle lift a touch as the reverb knob on the vocals of Applin is taken to its fullest resonating level, its fall out a niggling added pleasure alongside highly pitched additional vocals. A thumping rock n roll stomp it makes a great appetiser for current single Family Unit. It also is the first to exceed two minutes; in fact it goes the whole hog as it wickedly extends its electric swarm of noise to beyond 3 minutes.
Family Unit is an outstanding song and makes one wonder if The Monkees had found their origins in this decade whether this is where they would have been musically, the song having that same pop contagion. The song has a statically charged breath which sparks only the strongest pull towards its riled pop air.
Tracks like the emotively charged This Is The Song That You’d Expect Me To Write, the summery over heated melodic first single Do The Sell Out, and The Fall meets The Pixies blistered pop gem State Of NY with wonderful additional female vocals, well we think they are it could be just a band member squeezing tightly, all leave one excited and immersed in a cloud of satisfaction.
A couple of the biggest highlights come in the songs Blood On Satan’s Claw and In The End. The first with an underlying riff which shouts The Clash anthem White Riot is again a far too short, you evil people, track of brilliance. The song scratches and pleasures in equally majesty and despite its short existence is an adrenaline fuelled ignition switch for the overload of the senses. The second of the two is a mesmeric blend for the first time of full smoothly toned vocals against a back drop of hazardous scuzzy bred caustic melodies. Both tracks are outstanding in what is an album of continual uncompromising magnificence.
Closing on a maelstrom of discord and acidic fingering called Supermoronic, a corruptive sing-a-long though all the songs on the album can be tagged as such, Duke It Out with Damn Damn Patriots is simply a dynamic and delicious pleasure. A punk driven senses sizzling, lo-fi, hi quality supercharger of pop sound. The must have album of the summer.
Falling Apart Together from UK rock band Union Starr has easily been one of highlights to come out so far this year. The debut album from the band is a magnificent collection of melodic heartfelt songs that offer a fire and light to brighten everyday and to bring a sunshine to the heart through wonderfully crafted songs and lyrics to easily find a connection and understanding with. The album took ten years to finally have the opportunity to treat our ears, which it does so wonderfully. This was one of the things we asked about when we had the great pleasure of having Roger Wells and JasonApplin of the band sit down and tell us more about themselves, Union Starr and the album.
Hello and a big welcome to The Ringmaster Review, many thanks for taking time out to talk with us.
Firstly could you please introduce the members of Union Starr?
Roger Wells – Vox\Guitar, Jason Applin – Vox, Mark Lyons –bass, Simon Nash – Guitar, Neil Macurley – Keyboards, Patch Hannon – drums and Steph Moorey – backing vox.
The seeds of the band began a decade ago I believe what was the inspiration that led to Union Starr?
Roger: I remember the original inspiration being a ‘Best Of Bread ‘album cover from the seventies. Four bearded men standing in a cornfield, sun setting behind them, cheese cloth shirts flapping. Classic stuff!
Jason: Rog and I have been listening to lots of things like Crosby, Stills and Nash and Steely Dan, sort of as a reaction to the indie we’d been living for the last 5 years. We both liked the idea of writing something so consciously timeless and high fidelity.
There was a musical past for you guys before the band too?
Roger: Yes, I was one of the founding members of Resque and played bass for Airhead for a couple of years. I went on to form Pallet and after a Reading festival appearance alongside Jason’s band Bennett, we were inspired to work together and formed Union Starr.
Jason: Yes, Rog will no doubt tell you about his. Obviously Patch was int The Sundays, and I had been in a band called Bennett who had minor success largely to John Peel being a fan.
The promo sheet came accompanied our review copy of your wonderful new album made the time that led to the beginning of the band sound like a last chance saloon moment certainly emotionally for you musically if not deeper, was that the case?
Roger: No, not really, for me it was more the beginning. Having been mainly a bass player until then, I started playing guitar and song writing. This wasn’t something I thought I could do so for me this is where it felt it all started for me.
Jason: I suppose there was a feeling of wanting to do something that was critically acclaimed rather than just indie kids liking it, but now 10 – 12 years on I feel completely the reverse, I don’t care who likes it, I just want people to enjoy it.
I have read somewhere that Union Starr almost ended before it started, that there was a falling out? Is that correct and if so what brought you back on course?
Jason: It wasn’t so much a falling out, more of drifting apart and then that kind of lack of communication ends up being a chasm in itself so I think we sort of filled that space with problems that weren’t really there. But, to my mind what happened when the album was finished, was that we fell out with the production company because they wanted our publishing as well as the record. So the whole thing basically caved in and Rog made it clear that he didn’t really want to work with me anymore. At the time that really pissed me off because I felt I was being made the scapegoat for everything going wrong. And it all sounds very melodramatic but conception and writing of the album itself took almost 2 years. And at the time I though Rog’s actions spoke volume about the true level of our friendship. I should say that I don’t think that anymore.
Roger: There was no falling out as such, between Jason and I, just a series of misunderstandings and things left unsaid. It happens in most close relationships I imagine. I think because the actual process of writing together was such an easy and enjoyable place for both of us, we kind of carried on knowing that what we had was worth pursuing….
Does the album title Falling Apart Together reflect that period and the friendship between you two?
Roger: Very much so. It kind of says it all.
Jason: Yeah, the album title encapsulates 2 things, the first being that the majority of the lyrics I wrote were about the failing marriage I was in at the time. And the second is a nod towards that, for the best part of 11 years, the album destroyed a friendship.
Initially you were just a duo or there were other musicians helping out before you found the drumming skills of Patch Hannon (ex- The Sundays), to add permanently?
Jason: Simon Nash was always very key and involved right from the start. The others apart from Patch were pulled in to make up the band when we first attempted to record the album. At that time we had a drummer called Martin and it’s actually his drumming that remains on the song ‘Don’t Worry Baby’. We sacked him and as we knew Patch and had started working with Nick, using his brother just fell into place. Stephanie does not appear on the album but is a full time member of the current line up.
Roger: Simon Nash our guitarist featured heavily in the initial ideas for sound as it was his home studio that we spent time in. The three of us would sit and listen to loads of different stuff and draw inspiration from each others take on things ranging from sixties spy films to The Beta Band, Steely Dan, XTC…… Loved those nights…..
How and when did the link up with producer Nick Hannon happen?
Roger: We had known Nick for sometime before Union Starr as he used to play bass for Jim Jimenee and The Deep Season and had recorded demos with various bands that Jason and I had been in. So it was kind of a no brainer as far as we were concerned….
Jason: I knew Nick from the days in Bennett and we’d used his studio to record our first album. I think Rog might have known him too but I’m not sure. I can’t really remember but I think I might have played him some demos or something and he offered to work with us after that.
Again the impression given from bio etc is that this all happened early on and it has taken ten years to reach the release of your album Falling Apart Together can you put in perspective the time span and placing of things please?
Roger: The album was all ready to release in 2001 but the production company folded forcing us to shelve the album and with tensions running high and a feeling that all was lost I just kind of walk away from the project and my friendship with Jay. We did talk, however in summer 2005 and began to discuss getting together with a view to at least gigging the album, but again it wasn’t happening…..
It was only when we met again at Mark Lyons (Bass) birthday party in 2010 that we decided to finally do something about Union Starr. And that is where we decided to put together the Woodenhouse Record Label, a label that would encompass Union Starr and projects that had been worked on during the bands lengthy hiatus.
Jason: Approximately 11 or 12 years ago we wrote and recorded the album. We then immediately split up, Rog and I didn’t really communicate too much for about 10 years. The last year we performed at Mark’s 40th birthday party, got talking about the album and decided to form Woodenhouse Records. That’s it.
Moving on to the album Falling Apart Together, so all the songs on it were written during the previous ten years or from a certain period?
Roger: All the tracks on the album were written and recorded in Reading and Nashville between 1998 and 2000….
Jason: All the songs were written approx 11 or 12 years ago.
The album is a collection of beautifully crafted and inventively melodic songs but also heartfelt, is there a lot of you personally and emotionally in the compositions?
Jason: Yes.
Roger: For Jason definitely. As the lyricist it was bound to. For me melody is all, so I feel very much part of every song…
There are numerous spices that flavour your distinct songwriting and impressive sounds on the album, what influences have predominantly affected you musically and as people?
Jason: I think we always wanted to make something that was uplifting and it’s odd, but the only word I can think of is ‘summer’ I think there is a lot of countryside in that album.
Roger: To many influences to name, but on the whole, the Seventies, early and late, lay under the whole album.
There is a definitely eighties flavouring too, we got whiffs of the likes of The Bluebells, XTC and The Lightning Seeds, is that a period especially from the UK that has made a big impact on you?
Roger: I have more than a fondness for the bands mentioned and would also include The La’s, Wonderstuff, The Cure, Wire, Banshees, and many more. So, yeah, the 80’s made a huge impact on me….
Jason: I’ve always loved XTC; I don’t have interest in the Bluebells or Lighting Seeds. It’s odd, a few people have said that there is an 80’s vibe to it, that’s not conscious, I think if anything we were looking for a mid 70’s feel. But having listened to it recently I can see why people might say that and I’m totally comfortable with it.
How does the songwriting work within the band?
Roger: Generally I’ll come up with an idea or part formed song with a definite melody but with little or no lyrics and Jason and I will sit and arrange it. Then I’ll make the tea whilst Jay writes words…
Jason: The majority of the stuff Rog writes the basic song structure and often a sort of hummed melody line for the vocals. On the album I wrote all the lyrics and a couple of the songs I had more steer in. A Real Fool and I Kept Knocking for example, where I take the main vocals.
So the songs start from the music aspect more often than from a thought or lyric to inspire them?
Jason: Often the music that Roger played me would evoke certain feelings or emotions that in turn would steer the lyrical content.
Sorry for going back to the promo sheet again haha but one line states ‘A year long process defined by fear and qualms, the end result was an album and a band that was completely unrecognisable to them but they still had great respect for.’ Could you explain and elaborate on that for us please?
Roger: I could try. But I’d rather not. Not my words……
Jason: I think that’s just a reference to the sacking of Martin, the fact that when we went into it we probably all had a little bit more of an equal say in things. I think we froze Simon out a little bit which these days I feel bad about, and Rog and I took control. Then I felt that Rog was very much courted by Nick, the producer, as the main talent and as such I felt a little bit side lined myself. But ultimately what we ended up with was the right album, so maybe those decisions were the right ones. I should caveat all that with the fact that this was 10 years ago, or more, so a lot of it is a bit foggy.
Falling Apart Together includes the excellent singles ‘I Know About Art’ and current one ‘Photograph’ which preceded it at the beginning of the year, did the response and acclaim towards them fill you with confidence on how the album would be received?
Roger: Of course, it not only gave us confidence with regard to Falling… but also has given us immense hope for a follow up album we are in the process of demoing….
Jason: Honestly, I was hoping for more reaction to the album than we seem to be picking up at the moment, but it’s early days. All I know is that we’ve played only our second and third gig In 12 years recent and both Rog and I noticed that there were lots of smiling faces in the audience so we must be doing something good.
I am always intrigued about the line between the self belief within artists for their work and the leap into the unknown and the anxiety at how the outside will perceive their creations. Which aspect has been to the fore for you leading up to the album unveiling?
Roger: The only feelings I have had are of pride and a great sense of relief that this album has finally seen the light of day. I have never been endowed with much self belief to tell the truth.
Jason: I think it’s on such a small scale that we are doing this that it’s relatively easy not to be too anxious about it.
Our favourite track was I kept Knocking, a storming and vibrant yet steely track, could you give some background to it?
Jason: It was originally a song about a trip to Nashville that Rog and I took and a girl that we met there who could drink us under the table. But we got the basic track down and it just sounded shit. Nick and I had been joking around with the concept of country garage music (as in dance rather than 60’s punk) and so Nick started mucking about with sequencers over what we had done. And that gave us the basic track. The lyrics I can’t actually take credit for even though officially I do on the copyright etc, as it is a direct lift from a letter that was left outside the studio by a UPS delivery driver.
Roger: The song started life as an ode to a girl from Nashville but didn’t make the cut for the album. However, during a lull in recording Nick Hannon and Jason started mucking about with sequencers and various other sounds and created ‘I Kept Knocking’ from the drum track of the original song. The lyrics are taken directly from a note pinned to the studio door by a UPS delivery driver who could not make himself heard above the din of the recording of the track…..
Has there been a big feeling of relief now Falling Apart Together has finally come out and has the journey to this been a test of your patience more than people will imagine?
Jason: I don’t think its relief, there has been something niggling me for the last 10 or 11 years whenever I think about it. And I found it difficult to listen to. But now friendships have been mended, and the thing has seen the light of day. At least it means I can comfortably listen to it again. Probably the nicest thing to come out of it would be hooking up with Roger again.
Is this a time to sit back and enjoy the inevitable acclaim or is Union Starr already looking ahead?
Roger: The new album is in full swing. Some of it has been written whilst sitting back, some of it whilst enjoying the acclaim.
Jason: No, we’re already writing new things and we plan to bring out an EP in August that will bridge a gap between the album and whatever comes next. At this stage I’m hopeful that it won’t be 11 years before the next album comes out.
Are there live shows promoting the release coming up?
Jason: Live shows for Union Starr are very difficult due to physical location of the band (I live in Reading, Roger lives in Devon etc) However, we are trying to do a few shows and have been invited to play a couple of small festivals over the Summer.
Roger: Jason and myself will be supporting Newton Faulkner as a duo at The O2 Academy in Oxford on the 10th May and Lemington Spa Assembly on the 13th May. We shall be playing with the full band at Reading Plug and Play on the 12th May and The Elderflower Field Festival in Lewes on the 26th May.
Other dates to follow…….
Do you think your next album will be an easier ride, not in creating it but just in the whole aspect of bringing it to life and into the world?
Roger: I would like to think so. It is so much easier for all of us now as we have our own record label.
Jason: Yes because we now can do it completely on our own without the need to involve anyone else. I think Rog and I are both conscious of the fact that we want the songs to be better than those on the first album. So that will take as long as it takes and therefore that could be a difficult ride.
Falling Apart Together is released on Woodenhouse Records, your own label as you mentioned earlier. Has this been a decision from the start or one that you made to ensure a release of the album?
Roger: A bit of both really. It is nice to be in control of your own work.
Jason: Woodenhouse was initially formed specifically for this recent release. Originally I think we envisaged the record being licensed to a regular label.
I guess having your own label means the pressure to get the album out swiftly is removed haha.
Roger: Quite the opposite. We now feel a real need to make up for lost time! Our aim now is for Union Starr to release an album a year. Union Starr was never supposed to move at such a glacial speed. Let the great thaw begin…
Does the label have other artists to share?
Roger: We have Jason’s other project Damn Damn Patriots and Beartown Zodiac. Dates for releases can be found at woodenhouse.me.uk
Jason: Yes, we currently have a band called Damn, Damn Patriots (which happens to be my side project) which is musically as far removed from Union Starr as you could possibly get. We also have an artist called Beartown Zodiac on the label and we hope to bring his album out in the autumn. In my opinion, his album will blow anything else we have done out of the water.
A kind of repeat question but what is next for Union Starr and you as musicians?
Roger: To remain the best of friends and keep doing what we’re good at…
Jason: Union Starr are currently writing and demo-ing songs for our next album and will be playing a few small festivals over the summer. Personally I’m also concentrating on the release of the Damn, Dam Patriots album scheduled for July.
Thank you so much for sharing your time with us and good luck with the album though we feel you will not need it.
Roger: Pleasure, Thanks.
Jason: I think we will! Thank you for your support, keep spreading the word.
Have you any last thoughts to share with us?
Jason: No
Roger: I’m off to the beach. We should all live in Devon!
And finally could you give us one song or release that has given you the biggest inspiration or incentive to do what you do so impressively?
Roger: Elbow’s entire back catalogue would be a good start…Great stuff.
Jason: This is a hard question because things that influenced me to do Union Starr all that time ago are not necessarily songs that I find inspirational today. But I would say that at the time ‘You don’t have to cry’ by Crosby, Stills and Nash was pretty much there in my mind all the time.
It has taken ten years from their conception for UK rock band Union Starr to reach this point and the release of their debut album Falling Apart Together. Knowing a decade has been spent on the journey of the music enclosed within the vibrant walls of the album, though obviously not the whole time was spent making the release, one in many ways kind of expects something special. The two previous singles taken from the album made suggestion that those hopes might be met but now as Falling Apart Together unveils its glorious beauty the truth is the album more than satisfies those expectations. The debut album from Union Starr is a magnificent collection of melodic heartfelt songs, a treat to brighten everyday no matter the dark it offers and a sunshine fiesta to excite the body into open worship.
Union Starr is a collection of musicians brought together around the core of Roger Wells, Jason Applin, and ex-The Sundays drummer, Patch Hannan. It was as mentioned ten years ago that the seeds of the band began with close friends Wells and Applin exploring a musical relationship. After their first show the duo found themselves working with producer Nick Hannan and for their second attempt at recording material added Patch Hannan to the mix. This January saw the release of the single I Know About Art and a keenness for their sound growing as well as strong acclaim. Now that the band has unveiled Falling Apart Together it is impossible to see anything other than unbridled enthusiasm heading their way.
From the moment the infectious charm of opening song Landing Lights engages in a romance with the ear the album incites a warm glow and inner smile, with the face soon to follow. The song caresses the heart with dazzling harmonies, mesmeric melodies and an eager energy that lifts one up in tender embrace. The song is the first of ten which all connect with the emotions like they were born to be the closest of friends. With intelligent touches making songs unpredictable and always intriguing, Union Starr provide instant evidence of their outstanding craft and creativity.
Tracks like Friend, Everything We Say, and I Can Feel It provide the ear with a playground of glittering soft indie pop laced with American folk textures and flavours. Each song a spring day of freshness and a sultry summer of bewitching melodic ingenuity. To describe their sound is not easy, the harmonic and melodic brilliance that shines out from every song unique but as each track graces the senses the influences stated on the press release of Crosby Stills and Nash, The Band, Vivian Stanshall and Sid Barrett are apparent. To that though you can add bands like The Lightning Seeds, latter XTC, and The Bluebells to get a taste of the feast within Falling Apart Together.
Every song is a gem but some tracks glow with an even greater radiance. The latest single Photograph is a heady splendour that one just immerses into from the opening siren like notes. Passionate and heartfelt the song plays with a light and warmth that one takes in deeply and when the keys add their own eager voice it is bliss. The likes of the gorgeous Bluebells and first single from the album I Know About Art, continue the excitement and exhilaration upon the senses. The latter song invites the listener into its swagger and confident expression of reality with a pure blend of melodic surety and bedlam bordering discordance. Showing the diversity of the band in songwriting and ability the track is sublime and is only surpassed by one other.
That honour goes to the inspired I Kept Knocking, a track that flexes its muscle and brings a stirring primitive quality to the vibrant body surrounding it. Throbbing as heartily as the melodies pulsate, the rhythms, bass, and wonderfully hypnotic groaning synths instinctively spark up the fires within. It is a musical bruising that one just loves to press time and time again.
Falling Apart Together is simply impressive, a musical ice cream to relish time and time again. It may have taken a long time for Union Starr to get there but every second was worth the energy and effort.
RingMaster 22/03/2012
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2010, Niagarama takes little time to fascinate and subsequently bewitch as Niagara opens up the fun. From a haunted intro the song cups ears with poetic keys and the coaxing expressive tones of Barclay, his voice a slightly gravelly but alluring enticement which fits perfectly within the piano melodies and emotive strokes of strings from their manipulative bows. It is a surprising entrance into the album, a potent croon which does not ignite senses and emotions but certainly stirs them up nicely for the following triumph of Small Parts Moving. The second track instantly grips attention with discord kissed rub of violins immediately courted by darker bass hues and great twisted teasing of guitars. The song is soon in full control of the emotions as it hits its stride, brass and vocals adding their descriptive hues to the emerging narrative. Bouncing with the appetite of pure pop but equally twisting it with an invention which crosses numerous styles and veins of sound, the track dances eagerly like a mix of James Cook and Union Starr.
