Every year there are a handful of bands and releases that seem to be hyped to the borderline of acceptability (and in some cases, it exceeds even that). This year it seems that Palma Violets are one of the ones being pushed in to that role and their debut album, 180, is fitting the role of one of the divisive albums of the year thus far… And the reason it’s so divisive certainly lies with how you approach the album. If you approach the album with the mindset that NME have inspired (that they are going to single-handedly save guitar music) then you may find yourself wondering what the NME writers have been smoking. Equally if you approach it with the negative attitude of those who deliberately oppose everything NME say; then you’ll find yourself missing the point of the album.
Album opener and debut single, ‘Best of Friends’ sets the tone for the rest of 180. Chilli Jesson yowls his way through the verses as Sam Fryer’s guitar leads the assault on your eardrums. It’s fast, frenzied and barely restrained; especially when it comes to the chorus which is undeniably a sing-a-long for the masses. Another familiar track, ‘Step Up For The Cool Cats’ quickly follows on from where ‘Best of Friends’ leaves off—bringing Pete Mayhew’s keys to the forefront to lead the gradual build of the song with Fryer’s vocals smoothly fitting in over the top. The track itself really comes in to its’ own during the dying minute as Will Doyle’s drums barrel through with what can only be described as turkey noises accompanying it—which is both insane and fun at the same time.
‘All The Garden Birds’ serves to slow the pace right down and after the frenzy of the previous two tracks it does act to jar the flow of 180 somewhat. That being said the track in itself has a flittering tempo which, as soon as you get comfortable with, changes without warning. It feels a little restless but, once again, it is the keys that tie the track together and keeps it feeling coherent and logical; if not somewhat like something out of a retro-videogame.
My favourite two tracks on the album come in the form of ‘Rattlesnake Highway’ which burns along at a blistering and uncontrolled pace; and ‘Chicken Dippers’ with its’ steady intensity in the verses with flash-in-the-pan frenzies between. It’s these two tracks that really exemplify what Palma Violets do best—ricocheting off one another to create songs that have different dynamics that encourage nothing more than having a bit of fun.
It’s the closing third of 180 where things begin to get a little haphazard. ‘I Found Love’ is Palma’s own take on radio-friendly and displays some of the best song-writing on the album amongst it’s erratic tempo changes that serve to make the track flitter from emotion to emotion without so much of a care. The problem is that there’s something noticeably strained about Fryer’s vocals at points—which just end up jarring you right out of it. ‘Three Stars’ isn’t immediately accessible and takes a few listens to appreciate the more controlled and restrained side of Palma Violets; and even then some people may not quite like their take on a ‘ballad’. To round it off is the ‘drunken, stumbling home from the pub with your mates’ anthem ‘14’ which brings the album back nicely back to where it started—but highlights a massive lack of continuity in terms of album assembly.
Overall though 180 is a great, no-frills attached album. It very much strips music back to what it should be about: just letting loose and enjoying yourself. There are moments in the album where it feels a little scrappily done; but for a band that has barely been around a year it somewhat is expected. But the moments when Palma Violets go for it no-holds-barred it really showcases their knack for unrelenting indie-rock genius. If this is what they can do after a year, then there’s definitely enough here to say that Palma Violets certainly will be goin’ up in future.
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