Oh, Rose
Oh, Rose. (a) The name of the hottest Freakyghostfolkpopdarkness quartet from Olympia, WA? (b) The sigh you tend to make after you've listened to "SEVEN", the stunning debut album from said band? (c) Both of the above?
I wrote about the immensely talented and charismatic Olivia Rose last year after being literally gob-smacked - the phrase I used was "wow… WTF!?!" by the tour-de-force that was the EP "1919" (not to mention the subsequent discovery of the back-catalogue), so when Olivia announced that the band were recording their debut album, I made a note in my diary (in reality a combination of 'like' on a popular social medja site and 'following' via Bandcamp…)
"SEVEN", comprises - yes - seven songs that are a little bit indie, a little bit folk, a little eerie, definitely - and mesmerisingly - haunting and most certainly memorable, and which opens with a reprise of "1919" in the shape of "Lottery" and "Run".
Hmmm, slackers - you're thinking - only seven tracks and two of those have been previous released…
Not so fast…
Listen to the version of "Lottery" released last year - punky, full of distorted, reverbed fuzzy guitars, a solid drum and bass backbeat that embedded in the skull… and then there was Olivia's distinctive and tremoloed vocals… And now listen to the version on the album - kids, this is what you do when you invest in some serious studio time, even the count-in has taken elocution lessons - here the song has been crafted into a guitar-fuelled slice of contemporary indie wondrous. I'm still pogoing and bouncing around the room, but there is so much added texture (which I suspect is thanks to the introduction of Sarah Redden's synths and harmonious backing). There's a glint in Olivia's eyes as she sings "…If i won the lottery, I'd buy you a sports car, With no brakes ,drive it as fast as you can, forever…" This song is a nailed-on indie gem and up there with anything from Alvvays' stunning debut (which as you'll note, is high praise…)
And the new version of "Run" is not so much re-recorded as re-imagined. It's still melancholic and bitter-sweet and - oh my gosh - those trembled vocals still send shivers down my spine. But here the addition of languid synths and the steady beat of snare drums not only add depth but give the song a dream-like quality. And then there's Olivia's voice - plaintive, pleading - just plain gorgeous. "Run" is such an underrated classic it's not true.
But what of the new(er) songs? "Running" hits you with a wall of fuzzy, reverbed guitar and surging bass as Olivia revisits punky, guitar-fuelled alternative-rock with a bit of a vengeance. The machine-gunned chorus duels for supremacy with the chugging guitar riff, before - and here things start to get even more interesting - the song fades out and straight into "Sevɘn". Is there such a genre as indie-electro-folk? (I'm thinking along the lines of Globelamp's haunting psychedelic-folk.) Building upon a single note, Olivia's siren-like voice holds you spellbound until it breaks into a primeval wail, the bass line grows in intensity before all hell breaks loose with such an animalistic ferocity that it's almost a relief fades out so tat you can pause and take stock.
I wrote about the immensely talented and charismatic Olivia Rose last year after being literally gob-smacked - the phrase I used was "wow… WTF!?!" by the tour-de-force that was the EP "1919" (not to mention the subsequent discovery of the back-catalogue), so when Olivia announced that the band were recording their debut album, I made a note in my diary (in reality a combination of 'like' on a popular social medja site and 'following' via Bandcamp…)
"SEVEN", comprises - yes - seven songs that are a little bit indie, a little bit folk, a little eerie, definitely - and mesmerisingly - haunting and most certainly memorable, and which opens with a reprise of "1919" in the shape of "Lottery" and "Run".
Hmmm, slackers - you're thinking - only seven tracks and two of those have been previous released…
Not so fast…
Listen to the version of "Lottery" released last year - punky, full of distorted, reverbed fuzzy guitars, a solid drum and bass backbeat that embedded in the skull… and then there was Olivia's distinctive and tremoloed vocals… And now listen to the version on the album - kids, this is what you do when you invest in some serious studio time, even the count-in has taken elocution lessons - here the song has been crafted into a guitar-fuelled slice of contemporary indie wondrous. I'm still pogoing and bouncing around the room, but there is so much added texture (which I suspect is thanks to the introduction of Sarah Redden's synths and harmonious backing). There's a glint in Olivia's eyes as she sings "…If i won the lottery, I'd buy you a sports car, With no brakes ,drive it as fast as you can, forever…" This song is a nailed-on indie gem and up there with anything from Alvvays' stunning debut (which as you'll note, is high praise…)
And the new version of "Run" is not so much re-recorded as re-imagined. It's still melancholic and bitter-sweet and - oh my gosh - those trembled vocals still send shivers down my spine. But here the addition of languid synths and the steady beat of snare drums not only add depth but give the song a dream-like quality. And then there's Olivia's voice - plaintive, pleading - just plain gorgeous. "Run" is such an underrated classic it's not true.
But what of the new(er) songs? "Running" hits you with a wall of fuzzy, reverbed guitar and surging bass as Olivia revisits punky, guitar-fuelled alternative-rock with a bit of a vengeance. The machine-gunned chorus duels for supremacy with the chugging guitar riff, before - and here things start to get even more interesting - the song fades out and straight into "Sevɘn". Is there such a genre as indie-electro-folk? (I'm thinking along the lines of Globelamp's haunting psychedelic-folk.) Building upon a single note, Olivia's siren-like voice holds you spellbound until it breaks into a primeval wail, the bass line grows in intensity before all hell breaks loose with such an animalistic ferocity that it's almost a relief fades out so tat you can pause and take stock.
If the first half of the album is indie-alt rock inspired, the second half is most definitely more thoughtful and intricate most musically and lyrically - tying together and reinforcing the threads of the band's previous releases. Both "Only" and "Winter" clock in at a tad over five minutes - proof that the band can create far more than three minute songs. The former oozes melancholia, all the while Olivia's voice just holds you in the palms of her hands. If you can allow yourself to drift away from the vocals, try and focus in on the hypnotic backbeat of the drums and bass. Careful though, there's the Bjork-Like cacophony of shrieks and wails that brings the song tumbling down towards the close with a jolt. "Winter" opens to layers of discordant drums and crashing symbols - an image of a bleak winter's day - before another totally hypnotic beak and incredibly warming, soothing vocals wash over the listener. In many respects (i.e. my opinion) this is the standout track on an album - that's lets be honest - is a bit of a gem. Here Olivia displays a dramatic flair as the song turns on the last verse. No spoilers here, but as the tempo is raised and her voice starts to break, you can easily imagine that hell will have no fury compared to that of a lover discarded… This frankly is an absolutely inspired piece of musical theatre.
"Flu" may be an unlikely ode to the positive benefits of the flu, but the song ensures this all to brief album closes as it began, with another sublime vocal performance. I've said it before, but Olivia Rose has a voice that I would walk barefoot across hot coals / crawl over broken glass (* delete as applicable) or at least fight may way down to Pasadena next month…
With Liam Hindahl again responsible for the exemplary stick-work through the album and together with bassist Kevin Christopher engineered the album, the recruitment of Sarah Redden adds warmth and texture on keyboards. And then there is the mystical lyricism and outer worldly vocals of Olivia Rose. In short, "SEVEN" is an absolutely stunning album and one you owe it to yourself to listen to…
Oh, Rose
"SEVEN" (Bandcamp)
"Flu" may be an unlikely ode to the positive benefits of the flu, but the song ensures this all to brief album closes as it began, with another sublime vocal performance. I've said it before, but Olivia Rose has a voice that I would walk barefoot across hot coals / crawl over broken glass (* delete as applicable) or at least fight may way down to Pasadena next month…
With Liam Hindahl again responsible for the exemplary stick-work through the album and together with bassist Kevin Christopher engineered the album, the recruitment of Sarah Redden adds warmth and texture on keyboards. And then there is the mystical lyricism and outer worldly vocals of Olivia Rose. In short, "SEVEN" is an absolutely stunning album and one you owe it to yourself to listen to…
Oh, Rose
"SEVEN" (Bandcamp)
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