Stockport quintet Blossoms have made a name for themselves over the past few months, supporting the likes of The Stone Roses at one of their sell out Manchester dates at the Etihad Stadium. Now it’s their turn to take the limelight with their self-titled debut album, containing twelve epic, indie tracks and are now set for their own headline tour in October.
Opening the album is their hit single ‘Charlemagne’ which was released in October and became Radio 1’s track of the day as well as topping the Christmas vinyl charts. Blossoms psychedelic, synth-filled sound is plastered all over this track which is why it is not surprise to me how much success it has had. Their signature sound and grungy, opening line ‘hello’ has become admired by indie-music fans and the track has been all the rage since it’s release. Following in the eminent footsteps of ‘Charlemagne’ is their more recent single ‘At Most A Kiss’, also featured as the second track on the album. This is yet another track that shows of their unique sound, simple 90’s pop-rock with no frills, just good quality music.
‘Getaway’ is my favourite track on the album by miles. Catchy and easily-memorable lyrics, intertwined with twinkling guitar riffs and Tom Ogden’s silky smooth vocals are the makings of this irresistible, breezy track. The track contains glittering synths from start to finish and the oh-so-simple lyrics ‘Im over you, get under me’ have been a big hit amongst the fans, as seen all over social media. The album continues it’s up-beat calibre with the tracks ‘Honey Sweet’ and ‘Texia’, bursting at the seams with more gleaming guitar riffs and butter-smooth vocals. Their combining of synths, percussion, guitar, piano and drums is one that never gets old. They make the most of all their instruments to create catchy, summery indie-pop tracks.
On a more negative note, the band have thrown their earlier tracks ‘Blow’ and ‘Blown Rose’ into the album which, despite them being quality tracks, we could have seen something fresh in their place, especially considering the stylistic changes we have seen from the band since then. However, the album shows a change in style throughout the second half, with the vocals turning grittier and guitar riffs heavier so the inclusion of these songs doesn’t change the composition of the album.
‘Smashed Pianos’, along with The ultimate track on the album ‘Deep Grass’, takes a much slower approach to their glossy, indie sound. A deep, thumping bass guitar replaces their usual glittering guitar riffs and the vocals become the focal part of these tracks, underlay with subtle percussion. Intertwined with the other tracks, this creates a subdued change in tempo while not making drastic changes in style, only some more rock’n’roll guitar riffs which I cannot complain about.
The album as a whole affiliates itself with Oasis and The Stone Roses psych-slanted, 90’s sound and, for me, doesn’t disappoint. Despite some bad reviews, the album commenced to number one in the charts, proving Blossoms stylistic progression as a band is that of a positive and more importantly, the fans approve.