The debut album from Morecambe fourpiece The Heartbreaks showcases an uplifting and nostalgic sound that certainly packs a few punches. Have they stolen the title of the best guitar band of the year?
Probably. Their attitude, flow and funk-influenced tunes create a fantastic record that should have been the soundtrack to everyone’s summer. They have the exciting melodies of indie giants Two Door Cinema Club and Vampire Weekend – however, what makes them truly special is their originality, and on top of that a distinctly British voice in the shape of lead singer Matthew Whitehouse.
The opening line of the record, ‘The rainfall in Morecambe embitters me, it f***s my hair and stings my cheek’ leads you into the excellent opener Liar My Dear, which has a sound reminiscent of punk but still with the brilliant guitar work that makes this album work so well. The mention of their hometown sets a theme that reverberates throughout the rest of the album, especially in Winter Gardens and Delay, Delay 9 (the latter being an undeniable album highlight).
The moody lyrics of Delay, Delay are quickly transformed into full blown guitars with a hint of vintage Americana. Matthew’s distinct vocal then drags you down into a rich, silky and flawless sound; it’s all then topped off with a brilliant female backing vocal that adds depth to the song as it comes to a close. I think these three and a half minutes of indie-pop perfection could really propel them into the mainstream – it’s destined to become a firm fan favourite.
The catchy chorus of Hand on Heart combines witty lyrics with a killer hook and proves that The Heartbreaks never waver in terms of quality: there’s never a break and there’s no opportunity for the listener to lose interest between the latter track and the next album highlight, Winter Gardens.
The kooky sound combines with a lovely personal narration to transport you to those nostalgic days by the seaside. It comes complete with heart-felt lyrics like ‘Cut me to the core, I’m struggling to come to terms with the fact that we don’t see each other anymore’. I think what makes this band so special is the fact that they write material that everyone can relate to in some way.
The staccato, punk influenced Remorseful really brings out the attitude on the album. This seems to set the pace for the following track Jealous, Don’t You Know, where the attitude is communicated even more here, with Matthew frankly telling his partner ‘It’s become apparent, I’ll never be man enough for you’. I’m glad the band has strayed away from the sunny, nostalgic melodies of previous songs: it shows they’ve already developed as a band and can change the mood of an album easily and smoothly.
The instantly catchy hook of Polly is clearly the obvious choice for the lead single from the record – its bouncy and cheery sound seems to contradict itself when the listener realises that it’s in fact about someone’s dream love having children with another man! This song proves to us that they already have a unique, diverse and developed sound and it raises the following question – why aren’t they already up there with the 21st century indie greats?
The penultimate track, Save Our Souls, yet again disguises the dark connotations of the song with a jingly and joyful beat: it seems they could make the dullest ballad a light and care-free tune, while the final song, I Didn’t Think It Would Hurt To Think Of You, is made great by the depth the backing vocals provide – the passage of dialogue is a nice touch too.
We honestly have no criticisms of the Morecambe four’s debut: it’s a very British and refreshing collection of uplifting and witty tunes, readymade and packaged to be the soundtrack to thousands of summer memories. The recurring theme of the British summer and nostalgia only compliments an already outstanding album. It’s full of innovation and catchy hooks – things can only get bigger for The Heartbreaks.
