Album Review: Blossoms self-titled debut

Stockport’s finest Blossoms can do no wrong at the moment, consistently releasing singles with positive feedback from press and fans alike. Since 2013 when the band formed, Blossoms have gradually been building an army of loyal followers and amassing support from a number of institutions – including finishing fourth in the BBC Sound Of New Music 2016. After numerous single releases and EPs Blossoms finally released their self titled album on the 5th of August, featuring a handful of already released singles on the indulgent 12 tracked album.

Blossoms stay faithful to their guitar-pop heritage throughout the album, but with an intriguing mix of 80s electro pop whilst remaining quintessentially British indie rockers. The band comprises of lead vocalist Tom Ogden, Charlie Salt (bass, backing vocals), Josh Dewhurst (lead guitar), Myles Kellock (keyboards) and Joe Donovan (drums), and each band member brings their own interesting dynamic to the group.

Blossoms encapsulate their formula of what has made their previous releases successful and apply it to every song on the album. Raw, passionate vocals from Ogden with intricate song writing skills reminiscent of the likes of Alex Turner (especially on the Submarine soundtrack) but the band brings something fresh and innovative to the scene.Fan favourite and possibly most recognisable is the leading track Charlemagne, especially after receiving a multitude of radio plays. It sizzles with a stylish hook, but remains bouncy and energetic throughout with the synth heavy instrumentals and a strong bass line. Its infectiously catchy chorus is a great mood lifter and blends effortlessly with the heavier musical elements whilst remaining heartfelt and honest.

Fan favourite and possibly most recognisable is the leading track Charlemagne, especially after receiving a multitude of radio plays. It sizzles with a stylish hook, but remains bouncy and energetic throughout with the synth heavy instrumentals and a strong bass line. Its infectiously catchy chorus is a great mood lifter and blends effortlessly with the heavier musical elements whilst remaining heartfelt and honest.

At Most A Kiss follows, again whilst there is a distinct synth element a strong riff section and guitars throughout makes At Most A Kiss perfect for live performances. It harks back to a bygone era of music, with an almost Pet Shop Boys element to the track, but perfectly crafted to a smooth finish and an easy listening track throughout.
Third is another fan favourite, Getaway. Ogden is at the forefront of this track with passion and excitement delivered in every lyric, with an underlying desperate plea. A solid tune with a definite radio-friendly feel to, but that doesn’t detract from the atmospheric indie pop goodness that Getaway is.

Third is another fan favourite, Getaway. Ogden is at the forefront of this track with passion and excitement delivered in every lyric, with an underlying desperate plea. A solid tune with a definite radio-friendly feel to, but that doesn’t detract from the atmospheric indie pop goodness that Getaway is.

Honey Sweet follows, and is definitely one of the album highlights. Again, a definite throwback to a bygone era of music, with a distinctive eighties feels to it. A more subdued ballad but still retains the sing-a-long nature of a good Blossoms track, and led by the essential guitar riffs and gentle piano notes. Whilst it does feel a little slower, it’s a casual gradual build to a crescendo of strong yet soft vocals and solid instrumentals.

Onto Her Bed again retains the slow build of Honey Sweet, again heavily piano based and balladesque and adds an interesting dynamic to Blossoms – exhibiting their ability to sound good with any type of track. An eerie layered song with the last thirty seconds seeming to be an unnatural echo of Tom Ogden’s previous lyrics.

Halfway through the album and Blossoms bounce back with the high-tempo indie pop goodness of Texia. Clever lyrics delivered with a passionate flair, reminiscent of newer The Last Shadow Puppets yet noticeably mixed with a Blossoms approach results in Texia being one of the highlights of the album, a highly polished and complex track.

Blown Rose was previously released as an EP but has been granted a space on the album regardless. A rich and intimate track from the beginning, Brown Rose has a quintessentially British romanticism about it. Furthermore, it has a slight psychedelic vibe due to the lingering element of Tom Ogden’s voice and the heavy guitar riffs throughout. Despite being a release from 2015 it demonstrates how the band has developed, still featuring the style and flow from Blown Rose but becoming tighter and more polished.

Smashed Pianos has one of the best hooks on the album, and effortlessly switches the tempo of the track. Tom described Smashing Pianos as ‘Lana Del Rey meets Phil Collins.’ An interesting mix and yet it’s definitely there. A heavy bass line is present throughout and again features the psychedelic guitar riffs, with a slightly haunting tone. Smashed Pianos is an intriguing blend of styles, yet somehow retains the Blossoms charm and sounds as solid as the rest of the tracks on the album.

Cut Me And I’ll Bleed is incredibly well crafted, particularly with the inventive and catchy lyrics. Again another 2015 released track given the album treatment, Blossoms fans will appreciate the addition of Cut Me And I’ll Bleed to the album. Shining in the psychedelic undertone of frivolous guitar riffs and the persistent, entrancing drum beat ensures the tracks success. Tom Ogden’s brings a vicious snarl to his voice to offer something different whilst still encapsulating the pop tones of the band with sporadic hand-claps.

The 10th track is possibly my personal favourite, My Favourite Room. A stripped back acoustic track, calling on older indie track for inspiration whilst incorporating delicate piano licks and sweet melodies. A completely different track to what has been on the album, offering a break from the heavier psychedelic indie pop tones, again displaying just how versatile Blossoms can be. My Favourite Room could easily be a winner for Blossoms to play live, and has already proven to be successful in live performances by the band.

The penultimate track on Blossoms self-titled album is the excellent Blow, a full on psychotropic love affair. Again, another older track (2014 this time) to be added to the album. It does sound a bit dated in terms of the more recent tracks from the band but Blow is a success in its own right. Featuring the best guitar riff on the album and a much more ‘rockier’ theme throughout, Blow enables Blossoms to exhibit how far the band has come and how they are continuing to develop. A hugely uplifting chorus and one of the bands most well known songs for older fans, its constantly a favourite on live gigs and it deserves a place on the album regardless of its age.

Finally, closing the album is the excellent Deep Grass. A solid track throughout that appears to be an amalgamation of all the styles featured on the album. Also, it allows Ogden to come into his own light with a strong vocal range and exhibiting his ability to switch up his own lyrical style. Deep Grass is placed perfectly last, incorporating everything on the album for a final goodbye, but hopefully it won’t be too long until the next one.

Ultimately, Blossoms first album is a journey through musical history and styles whilst discovering who they are as a band and putting their own signature touch on every track. The newer songs stand proudly next to the older tracks that fans have loved, whilst still allowing room for the band to grow and develop. Blossoms energy and ferocity from their live performances is still conveyed in the album and manages to encapsulate the magic of a Blossoms gig.