Written by Tom Bedding
The LP begins with a very dramatic and pretty intro, which is actually called ‘intro’. This opener includes some ‘mermaid’ sounding like singing, as the lush sounding strings grow louder and louder, building is up to what is to come. It does blend into the title track well, despite the two tracks are seemingly different, the transition is smooth and effective.
Wooden sounding percussion and beat is rather enthralling on the title track, with Hannah Reid’s vocals sounding on fine form. The gentle riff by the guitar is great, despite it not being used in the chorus, it grabs your attention when it arrives back during the verses. I do wish there was a tempo shift, acting as the winds of this record taking us truly away into London Grammar’s third studio album.
Next, it seems like the group are chasing for something on ‘Missing’, with it really falling flat and being a mix of odd pop inspirations. We have a melody that is reminiscent of Lorde’s ‘Pure Heroine’, yet the execution has a sniff off Sam Smith’s earlier days, maybe even a dashing of Years and Years too? The backing vocals reinforces that Lorde nod and the synth beats are very dull, causing this track to feel like a big misstep.
‘Lose Your Head’ is an improvement though, with the vocal melody feeling so lovely and the main hook is rather fun (despite the moody ambiance we find on this song). The trio can really engage us when the moodiness textures are filled with thoughtful synth parts, which we hear aplenty on ‘Lose Your Head’.
The sprightly and sweet chimes at the beginning of ‘Lord It’s a Feeling’ creates a great tone, with Reid singing about the toxicity of deep relationships in her love life and the music industry. I will be honest, I have never been fully impressed by the singers vocal delivery, and do feel like it plays apart with how I can not get on board with this track….maybe it could be the uninteresting production too?
London Grammar brought in Steve Mac for the poppy cut, ‘How Does It Feel’, with trying to ensure that this departure for the group, can work to the best it can possibly be. The bass is great on the track, with the clarity of the instrumentation being a real standout on the entire record. However I think the trio struggle to fit into this pop scenario, it comes across that Steve Mac has tried fitting in the wrong jigsaw piece into this Dua Lipa meets Ed Sheeran single.
From the songwriting and result, ‘Baby Its You’ feels a lot closer to home for London Grammar and shows what this outfit can offer from their world. This single takes you away to a festival instantly, the starry synths are wonderful and Hannah Reid fits so magically in this sound and melody. The pre-chorus is fantastic with the delicate piano, then this slight house synth part comes in with great purpose. Then on ‘Call Your Friends’, the backing vocals, deep in the mix, are a great touch to this cut and probably is the most enjoyable aspect of this records sound.
‘All My Lover’ is a slow burner and that is worked very well, leaving us curious/ in awe with the tension that is created. As the song progresses, the mixing of the backing vocals again are brilliant, which keeps the listener engaged until the slight below par guitar part, that finishes this song off.
There is some subtle and cool sounding guitar work, deep within the mix of ‘Talking’. However you just know what is going to happen…..some strings and the repetition of the same line…oh and some dramatic organ sound to close the song off. Yes, London Grammar are trying to push themselves sonically, which is great to see, yet the routine they have will always hold them back.
Again the backing vocals sends a track another level with ‘I Need The Night’, however the beat on this one actually hits so well and the band feel a lot more comfortable in this songs groove. Lastly, ‘America’ has some interesting lyrics, putting together the promises of the music industry can give to artists and the American Dream.
I love the tone of the electric guitar on the closer, which fits nicely with the vocal delivery. To conclude, the listener is left looking forward, giving us a sign that London Grammar will be carrying on, trying to push themselves (hopefully with less chains holding them back). ‘Californian Soil’ does enough to help the group going forward but it may not open any new doors or raise them to new heights.
You can stream Californian Soil on all streaming platforms and can purchase the LP at your local record store!
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