The debut album from Sheffield indie rock n’ rollers THE HARRISONS is a living, breathing humdinger! Energetic and full of vitriol, fuelled by equal measures of defiance and recklessness, this also takes a 20-year step back in time, unearthing melodies from heaven (or from 1989) that really send you.
Repetitive lyrics and jagged guitars skank out frequently as sliding melodies widen gaps for the bouncing rhymes to fall through. Psychotic harmonies pulsate under heavy delay, spacing out the conclusion to ‘Wishing Well’, but for the most part this is a momentum-gathering demonstration of staccato pop perfection, played out at high speed to a thumping beat. Heavy reverb makes it sound like it’s coming through a dub-style sound system, and that’s always a good thing!
TV stares and breadline deals dominate the confrontational, 'Blaggers ITA' ragga skank of single ‘Dear Constable’, and this sets the tone for a rough ride round South Yorkshire satellite estates (This could be Darnall, or Gleadless) or anywhere you’re offered the shitty end of the stick. The sense that we’re all being cheated comes across loud and clear, and the frustration is reflected in the angry, hammering tempo.
‘Little Boy Lost’ begins like a ballad, yet in no time it has surged into top gear to become an uninhibited celebration - an unforgettable 100mph dancefloor classic. Hammering chords and a rhythm section that thanks to Ashley Birch has a good, loud, warm bass to shake the tracks combine to stunning effect, giving many of the songs the irresistible power to suck you in.
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The retro chorus feel of the guitars in the slower numbers is real music to the ears. The intensifying slow-burner ‘Simmer Away’ is right out of 1989, and as ‘Crystal Sweet’ smoulders, monster riffs shine out of the swaggering carousel.
‘Take It To The Mattress’ is another swinging great slice of instant-hitting pop genius. There’s a two-line chorus to die for, and it’s bounced down a corridor of atonal melodies that send the kaleidoscopic narrative from dizzy heights to bedsit floor and back in a matter of seconds, as the song suddenly hits a groove that shakes off all traces of hazy apathy.
There’s more. ‘Blue Note’ is underscored with runaway bass vibrations, and a thunderous backbeat drives the crazed tune onwards as Adam Taylor’s voice and the guitars raise the roof. Crash chords and insane rhythm playing perpetuate the tension, and it’s dizzy euphoria all the way.
The finale combines a delicate acoustic piece with the same dub-like roar from the relentless bass and percussion, and Taylor’s vocal hits some deep notes before a sudden shift in tempo hastens the all-night dash for the bridge. Gentlemen, it’s been a listening pleasure.
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