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The good thing about ‘Waves’ is FAITH are creating their own identity, eschewing British brawn in favour of intricate, lovelorn melodies. It certainly bodes well for the future.
It’s the confidence that strikes you at first. Rather than shove a heavily salted indie treat into the Midlands’ already bloated soundhole, Mr George has decided his famous last words will read – ‘real rock and roll lived here.’
Despite still being young, Best’s world-weary howl suits him, especially on the folky ‘Emerald City’, where he conjures up the sulky strums and Americana grains Lightspeed Champion used to muster so well.
Once again, Foos have made a sterling, hook-laden album perfect for that next arena tour.
The four-piece may not harness the tortured soul of Pinkerton, but with songs like the blistering ‘Ain’t Got Nobody’ and the gently chugging ‘Cleopatra’, they’ve finally arrested the decline that was in danger of tainting their legacy.
If you were given a copy of Superfood’s new record, bereft of album details and year of production, you’d be hard-pressed to guess just which era this has emerged from; doffing their caps to yesterbaggy, Britpop and everything in between, the Birmingham band’s long-awaited debut album is a delightful collection of wobbly pop and infectious, sun-drenched hooks.
‘Shaking in the Water’ is their best single since ‘Young (Beline)’, beginning with a twinkling, Deaf Havana-esque riff before exploding into a stomping, fist-pumping hook.
Blood & Lemonade is lean and fast throughout, and whilst Jones has his career with Miley Cyrus to fall back on, fans will relish this return to form from a criminally overlooked band.
Opener ‘Homesick’ sees singer Van McCann drawl like a hanging Luke Pritchard before the melody gives way for a ferocious chorus.