A rough and rugged blue-collar city on the outskirts of Manchester, England isn’t exactly a place of glamor and elegance, let alone an ideal origin for indie-pop bands. Yet, from the dry soil of Stockport, the band Blossoms has managed to bloom in a big way. Having released a row of successful EPs and now a high-selling debut album, the band is riding a wave of popularity in the UK. It has proceeded to carry them 5,000 miles to California, where the band hopes to establish a foothold here in America. But as many other British indie bands can attest to, success in the States is no sure thing. Blossoms hope to defy the odds. With a quality album at their disposal, they might do just that.
At first glance, Stockport has clearly rubbed off on lead singer Tom Ogden and his ambitious, messy-haired bandmates. The group shares the same brash, fire-in-the-belly confidence that many in the town pride themselves on. What’s remarkable about Blossoms is that their mystical, melodious brand of indie-pop hardly embodies any sort of cockiness. When in the studio, the band sheds its urban persona and lets their vulnerable, softer sides shine. In fact, fervid, poignant romance is a common theme throughout the band’s new album, particularly evident in tracks “Getaway” and “Honey Sweet.”
The band’s self-titled debut album finds its identity by means of a catchy tenderness and isn’t hesitant to dig for its influences through several decade’s worth of music. Ogden’s vocals and lyrical style clearly evoke Alex Turner and Arctic Monkeys, with hints of ABBA, The Stone Roses, The Doors and even The 1975. Blossoms finds inspiration through different genres as well, tipping their hats to modern pop and electronic music. The result is a uniquely exuberant sound.
Despite the album being composed of an even mixture of past singles and new studio tracks, it flows cohesively. The hypnotic, transient opener, “Charlemagne,” is easily the album’s standout track. It’s also Ogden at his best, both vocally and lyrically. In the midst of a tug-of-war between the metaphorical and straightforward that takes place throughout this album, the allegorical and psychedelic score a resounding victory here. “The river always flows tears of gold … left me cold, do you feel the same, my Charlemagne?” Ogden wails longingly.
Meanwhile, “Cut Me And I’ll Bleed,” another old single handpicked for the album, proves itself both ghoulish and invigorating, a clear nod to “Humbug”-era Arctic Monkeys. “Blown Rose,” also an especially strong track, feeds on a melodious eruption of keyboards and a robust nostalgia for the band’s mother England.
The band continues to keep its focus set on the European market for now, having scheduled concerts from Madrid to Moscow over the course of the next three months. But if last week’s concert in San Francisco was any indication of what’s yet to come for the band State-side, Blossoms may find themselves with quite a few new fans sprouting up throughout North America in the near future.
Contact Alan Brown at alanb ‘at’ stanford.edu