60s
reverb is all over this album with an obvious nod towards everything
else that was good about early 60s pop – up tempo beats, bright
flowing harmonies, and lilting female vocals. While it could be
classed as sunshine pop, it resembles more closely the musical
styling of psychedelia but completely void of any drug infused
influences such as wah-wah or chorus pedals (unless they’re heavily
buried in the mix somewhere).
A
number of sixties female vocalists can be detected, but most
prominently Dusty Springfield might be the first that comes to mind.
On songs like ‘Collectors’ and ‘Name on a Matchbox’ singer
Greta Morgan never attempts to emulate these greats, but sings lines
like “I’ve got your name on a matchbox, I need your face in the
past” with her own relaxed but distinctive tones - with a
non-intrusive whistle whistling out the chorus hook, this third track
is easily one of the strongest songs on the record. ‘Sun Went
Black’ charges through the door with full force deserving to
challenge the popularity of anything by Lana Del Rey whose similar
fusion of retro pop with contemporary production catapulted her into
stardom. Springtime Carnivore is less reliant on studio tricks
though, opting for a far more organic sound and a stronger sense of
rhythm that would make anybody dance to the line “Living without
you is no life at all”. ‘Foxtrot Freak (Something in the
Atmosphere)’ signals a relaxed groove with the opening line “Smile,
smile, shuffle, the pompom parade, we all danced backwards when the
skies went all grey” taking us on a fun trip to the ‘Other Side
of the Boundary’ where things seem to get a bit more complicated
with strained emotions and suitably a drop out of instruments leaving
just an acoustic guitar on the right and a strumming electric on the
left supporting the vocalist up in the middle singing “Every time I
ever tried walking to the edge, my tired heart would compromise and I
would miss my chance. But I will run now. . .”
‘Keep
Confessing’ belts out “I already know your secrets” like vocalist Greta Morgan is serenading us with a late eighties rock
ballad by Heart, while ‘Last One to Know’’s kick drum and thin treble
vocals hint at nineties alternative pop in the vein of The Cardigan’s ‘Lovefool’.
The
album soars when it’s up-tempo and all instruments join in on what
feels like a celebration of all the reasons for making music, but
occasionally drags a little towards the end as the tempos move closer
to setting-sun moods. ‘Creature Feature’ tries to rectify that
but never soars as beautifully as the first three hit tracks, instead
the album opts for a gentle goodbye with the solo keyboards of ‘Low
Clouds’.
This
is an album I like for its fullness without ever feeling like there
is an over indulgence of nostalgia, though nostalgic it is – songs
bathe in the glory of the 60s but with a strong sense of moving
forward rather than backwards. Production is slightly below the more
mainstream quality of Lana Del Rey, but still throws a punch when
turned up. A strong début with catchy songs, appealing vocals, and
an excellent sense of self.
