SPRING has sprung, and after months of hiding behind gloomy clouds, there are a few rare sights of the sun and warmer weather. Now to accompany the brightening weather we just need some music, and an early contender for an album to compliment the drinks in the park this year could be Only Real’s debut Jerk at the End of the Line.
Since he popped up around 2012, Only Real (aka Niall Galvin) has been plugging youthful exuberance; not to mention a tremendous aptitude for songwriting. His sound: casual guitar pop with hip-hop lyrics, bursting chorus’ and a feel that will put a cold beer in your hand, all wrapped around his London accent. Last year Jamie T matured and produced the stunning Carry On the Grudge, but in upping his game he also left a hole for some uncaring, fresh-faced new upstart to fill, and Only Real has taken on the task beautifully.
Jerk at the End of the Line opens in earnest with JERK, a breezy pop song that wears its immaturity proudly on its sleeve. It doesn’t exactly plough the depths of emotional meaning, but the lyrics are quick and clever and the chorus is as poppy and catchy as you could ever want. It’s followed by YESTERDAYS, which starts off sounding a bit like the stereophonics, but soon has Galvin’s charm thrown all over it. Same formula as JERK, and yet it’s energy keeps it fresh.
His latest single CAN’T GET HAPPY is probably the best showcase for Galvin’s song-writing talent. The depressing title sits oxymoronically on top of a slick sounding track, with a wish-washy voice lazily murmuring the title.
PETALS fully embraces the hip-hop side that splices up this album, leaving Galvin to do his thing and show-off his whip-quick tongue. CADILLAC GIRL was one of the first songs that appeared from Only Real, and remains one of the strongest. Sticking to the tried and tested hip-hop verse, tangy pop guitar sounds and a blanket of dreamy haze, the song is undeniably an anthem. It’s so easy to picture this song decorating numerous summer campsite scenes, blaring from speakers at festivals all around the country. It’s not pretentious, it’s certainly no work of genius, it’s not even hugely unique, but it is a stunning song that epitomises the album.
Don’t take yourself too seriously- that’s probably the feeling that this album will leave you with. It’s simplistic, possibly naive and Galvin’s overly cocky character might leave some people a little put off. But sometimes in music the hardest thing is to do the simplest thing, and you know what? Only Real has produced a brilliantly simple pop album that will likely get thousands dancing to its melodies. For people who look for more than dance-ability in an album, check out the dissonant guitar tones, the smooth bass lines, the intricate lyrics, and the polished production.