WITH much anticipation surrounding its release, Blossoms have finally shared their self-titled debut album with the world and it doesn’t disappoint.
The Stockport outfit have had quite a year with a number of high profile festival appearances under their belt, plenty of Radio 1 airplay and a couple of headline tours, one of which is still to come. The release of ‘Blossoms’ is the centrepiece though as they consolidate their appeal with their eyes set firmly on chart success.
As the only guitar band on the BBC Sound of 2016 poll, the five-piece have been heralded as the saviours of indie music, and while they have the same sense of unapologetic self-belief that many northern bands are blessed with (Oasis, The Smiths, The Stone Roses…), it would be wrong to place them in the same category. In fact, the influence of guitars are outweighed by bright, glossy synths on this record; sonically it sits more in line with the pop acts on today’s mainstream radio than any of the band’s guitar-driven contemporaries, such as Catfish and the Bottlemen for example. The aim, according to frontman Tom Ogden, is to sound as ‘modern as possible’.
What stems from this is a refreshing and catchy collection of pop-rock songs dressed in leather-clad indie that are as radio-friendly as anything else you’ll hear this year; that’s not to put it down though. With eight out of the twelve tracks already heard in previous releases, dating back to the 2014 single ‘Blow’, Blossoms have effectively released a hit-packed album with all the qualities of a greatest hits compilation; you’re struggling to find a bad tune among them.
Things kick off with Radio 1 favourite ‘Charlemagne’, built around its effortlessly catchy synth hooks and addictive chorus, before the wonderful trio of ‘At Most a Kiss’, ‘Getaway’ and ‘Honey Sweet’. It’s hard to ignore their eighties influences here with the use of kaleidoscopic synths and funk-infected melodies, with Tom Ogden’s vocal delivery, sitting somewhere between Richard Ashcroft and Alex Turner, giving the tracks just enough grit. The chugging bassline and swaggering, moody rhythms of ‘At Most A Kiss’ are offset by the shimmering synths and soaring melodies of ‘Getaway’, almost a romantic triumph before its prosaic depiction of post-break up sex; ‘I’m over you, get under me’.
The introduction of ballads such as ‘Onto Her Bed’ and ‘My Favourite Room’ allow for a change of pace, but the five-piece are at their best when they fully embrace their electro-pop rock sound. ‘Texia’ is a highlight with its sparkling throwbacks to New Order while the electro-jangles of ‘Blown Rose’ and ‘Cut Me And I’ll Bleed’ see their psychedelic tendencies creep back into play. ‘Deep Grass’ is the suitable album closer, allowing them to prod their pop boundaries and delve into psych-rock territory with syncopated beats, woozy atmospherics and fuzzy guitars.
‘Blossoms’ is an effortlessly brilliant debut offering from the Stockport five-piece that will no doubt catapult them onto the mainstream success they deserve. With a conscious nod to their influences, they wear their pop sensibilities proudly on their sleeve and have been able to stand out from their indie contemporaries with their refreshing and infectious sound. They may not be the saviours of the indie rock genre but one thing is for sure; Blossoms are on an unstoppable rise, and it doesn’t seem to be slowing down anytime soon.