Splashh (their extra 'h') recorded their slacker rock debut in their London bedroom (oh think of those neighbours) but this time they've relocated over to the good old USA to get shiny pop production from Nicolas Vernhes (Animal Collective etc). The result is this their second album that veers into a more raucous territory still with their pop nous attached.
5/10 Clinton Staff review, 12 April 2017
I quite enjoyed the debut album from Splashh which updated some of the fun I listened to as a young man so that I could look back on it through a fug of total mid 40s despair. Good tunes that they recorded themselves which gave it the rough edge that is needed for all the best indie rock. This follow up has seen them travel to America and record is a big plush studio and though it's not totally awful the production is in that that tight and clipped and compressed style which literally squashes the life out of the songs. On 'See Through' they add in the sort of chorus that made 'Comfort' a charmer, the Pixies influences are still pretty strong and they still utilise different sounds from the '90s but 'Waiting a Lifetime' is too sheeny to really get your feet moving, it sounds like it has been programmed to within an inch of it's life therefore I'm relying on good songs to get me through but I can't really hear them. 'Gentle April' in fact is truly awful, a sort of Primal Scream and Spiritualized fed through a dull computer. 'Honey and Salt' is even worse - taking the melody of 'New York State of Mind' it proceeds to attempt a sort of digi-gaze intensity which isn't helped by synthetic drums tapping away like the pencil tip of an impatient person hitting a desk.
Like Temples recent LP 'Waiting A Lifetime' is the sound of a band chucking away any indie rock credentials and synthesising their sound. Splashh's charm though has been completely obliterated.
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- Waiting A Lifetime by Splashh
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