Yet Beach Fossils seem to effortlessly throw out their brand of breezy surf-indie like it was ingrained in their DNA. A tempting comparison would be The Drums, or a mellower Howler. Overall the whole thing fits together very nicely, with the centre point of the collection “Taking Off”, with its big-hearted chorus, a standout moment. Makino’s vocal is distorted and muffled but the track remains driven and the pace doesn’t really drop. Later on, “In Vertigo” gives things a slightly different atmosphere, featuring an appearance from Blonde Redhead singer Kazu Makino. Track three “Sleep Apnea” has a slower, dreamy-quality that may find welcoming ears due to its similarity to Tame Impala’s 2012 album ‘Lonerism’.
There are occasionally slight deviations from the script. Elsewhere they chime, noodle and jangle spattering rifts and melodies over the songs like a Jackson Pollock work. On second single “Careless”, the guitar screech accelerates like a motor car. Not only this, but after the second verse it’s joined by a shimmering reverb which beautifully envelopes the whole song. However, it is the guitars that particularly engage.ĭebut single “Shallow” has the best guitar line of the lot. Dustin Payseur is an assured vocalist and there’s some brilliant drumming on show. All hold the same ingredients but the playing is tight and the performance is particularly special. ‘Clash The Truth’ contains 14 songs that, with the exception of three instrumental snippets, tend to be driven, sunny surf-rock. To do so, they enlisted the production skills of Ben Greenberg (The Men) and have succeeded in delivering a joyful album of breezy, crisp indie.
KAZU MAKINO ON BEACH FOSSILS SONG UPGRADE
The atmosphere warmed too, with Rose’s easy-going and winningly humble persona adding fun to the flawless playing.įor their sophomore release, Beach Fossils sought to upgrade the lo-fi, punk-style, home recording approach of their debut while maintaining its energy and passion. Their years on the circuit are telling and they create a rich backdrop to the singer’s lead. The performance and acoustics of the band reached a similar quality. Her voice is faultless sweet, warm and sometimes mournful with highlights including the classy “Pink Champagne”, the yearning “Golden Boy” and the quirky “Old Numbers”, all taken from the new album. It filled the Fleece with Rose herself succumbing to the sound, gazing into the middle distance as though addressing her song’s subject. Caitlin Rose draws upon a past age to create her world, at once old-fashioned and vibrantly contemporary. More interest was drummed up though when they closed with a couple of Beatles covers a southern-sounding “This Boy” and “Something”, which includes the first vocal of the night, albeit disguised by vocorder.Īnd so to the headline act. However, without the punctuation of a verse or chorus they didn’t always engage. It is these members that formed the instrumental second act of the night, Steelism. He too comes from Nashville and you can hear the Tennessee bourbon in his voice.ĭuring Combs’s set an eclectic group of musicians rotated around him.
Like Rose, he’s a story-teller rooted in entertaining, sometimes lovelorn tales. As people trickled in off the cobbled streets outside they were greeted by night opener Andrew Combs.
KAZU MAKINO ON BEACH FOSSILS SONG FULL
In taking promotion of the new record to Bristol’s The Fleece, she brought with her two support acts made up of various incarnations of her full band.
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