Propelled by a couple of hyped-up reviews and a slot on the NME Awards Tour, Palma Violets have burst onto the pages of countless music magazines over the past few months. Initially, I was slightly wary of them – with the music press so keen to shove their self-proclaimed “saviours of indie” down our throats (see Jake Bugg), my first task as a listener was to decide whether they were the genuine article, or just ridiculously overrated. To my relief and surprise, they were certainly the former.
Before you even pick up the the album, there are two things that stand them in good stead; the first being their brilliant strong debut single, “Best of Friends” released last year, which already sets the stage for a fair bit of media excitement and a highly anticipated first album. The second is the fact that 180 is produced by Pulp bassist Steve Mackey, which ensures for plenty of angsty guitar and reverb, in true Britpop style. Despite the steep pressure, I’d say the odds are already stacked in their favour before you even hit the second track.
“Step Up For The Cool Cats”, the first of the new material, kicks off with a swirling, grinding organ intro, before launching into a catchy riff and Sam Fryer almost whispering the word “cats” in this tender and fragmented semi-ballad. Completing the bold trio of opening tracks is “All The Garden Birds” (a song inspired by falling asleep in Kew Gardens), which further exposes the sensitive, softer side of a usually straight-forward rock band.
Shifting closer to their original influences, “Rattlesnake Highway” is reminiscent of The Clash, and this recording captures the truly frantic energy of their live performances. Continuing the punk vibe, the strangely named “Chicken Dippers” (sometimes christened “Happy Endings” at their gigs) bounces around a New Order style hook and chorus that will get stuck in your head. Then, if someone asks you what you’re humming, you’ll have to sheepishly reply with the track’s officials name, “Chicken Dippers”, ensuring some odd looks from colleagues!
Next, “Last Of The Summer Wine” and “Tom The Drum” slow down the pace, before “We Found Love” crashes back in, with a feverish pop chorus (it figures; as they jokingly confessed they were trying to be more like Rihanna with this track – even using the same title as hers), and sporadic outbursts of screaming. “Three Stars” and “14” complete the album, and, if I had to cough up any criticism at all, it would be about these last two songs, which seem slightly rushed in a desperate bid to finish the album in time. The closing two certainly have potential though, and I doubt anyone could truly fault them when they’re surrounded by such impressive tracks for a first album.
Another of Palma Violet’s assets is the wonderful onstage chemistry between the joint frontmen – bassist Chilli Jesson and guitarist Sam Fryer – who have been likened to a “more respectable Pete Doherty and Carl Barât”. I can personally vouch for this comparison, having seen them live earlier this month. Only time will tell whether they will emerge from the success of this first album as the next Libertines.