Lemonade – Lemonade Ever since the Mercury nominated Friendly Fires came onto the scene, the Balearic bubble has burst, with everyone from Jack Penate (Everything is New) to Bloc Party (One More Chance), trying there hand at cheesily cool 90’s euphoria. Many have tried but its a sound only the Saint Alban lads can convincingly pull off, that is until now. Hailing from the trendiest part of Brooklyn, Lemonade consist of Callan Cledenin (Designated quiff), Ben Steidel (arbitrary tall member) and Alex Pasternak (moustachioed member and seemingly Ben and Alex’s dad…). The album opens with Big Weekend, arguably the bands signature tune, a thudding camp testament to camp 90’s house. Heartbeat, 4/4 beats lumber into life, pumping under precision cowbells. If you don’t feel like gyrating like Ed Macfarlane messing with a hula hoop within the first 30 seconds, you probably need to check for a pulse. Floaty synths reverberate around, like a party being held in Dale Whintons bathroom, perverted, yet captivating at the same time. The whole thing loops and tumbles over itself, creating a hedonistic percusive carnivalle, drawing you into the funk. Real Slime is a more stripped back affair, taking away the the complex drum layers and lsd synths, to reveal a more spikey, electro punk sound. Sparse, biting bass and delayed vocals fight and bounce of each other, while sampled drums and bongos add sinister elements, it comes off sounding like the warped lovechild of DIOYY? and These New Puritans, with a dash of The Big Pink for good measure. Closer Bliss Out is one massive contradiction of a track. The opening 2 minutes, do nothing much, but end up sounding like some annoying ringtone that you chance upon when flicking through your phone bored one afternoon. Squeaky baby doll samples grate and irritate, giggling alongside obnoxious playground synths. Then at 2:22 exactly the whole thing transforms, tumbling 90’s piano is introduced and immediately it becomes a dancing, gyrating ”hands in the air” moment in its purest form. Agressive drums, smash and roll, while the vocals of unnervingly subliminal children proclaim ”We are all having a good time”, ending as if Derren Brown had rethought his career plan and started a project in Indie dance. 8/10 JT

Lemonade – Lemonade

Ever since the Mercury nominated Friendly Fires came onto the scene, the Balearic bubble has burst, with everyone from Jack Penate (Everything is New) to Bloc Party (One More Chance), trying there hand at cheesily cool 90’s euphoria. Many have tried but its a sound only the Saint Alban lads can convincingly pull off, that is until now. Hailing from the trendiest part of Brooklyn, Lemonade consist of Callan Cledenin (Designated quiff), Ben Steidel (arbitrary tall member) and Alex Pasternak (moustachioed member and seemingly Ben and Alex’s dad…).

The album opens with Big Weekend, arguably the bands signature tune, a thudding camp testament to camp 90’s house. Heartbeat, 4/4 beats lumber into life, pumping under precision cowbells. If you don’t feel like gyrating like Ed Macfarlane messing with a hula hoop within the first 30 seconds, you probably need to check for a pulse. Floaty synths reverberate around, like a party being held in Dale Whintons bathroom, perverted, yet captivating at the same time. The whole thing loops and tumbles over itself, creating a hedonistic percusive carnivalle, drawing you into the funk.

Real Slime is a more stripped back affair, taking away the the complex drum layers and lsd synths, to reveal a more spikey, electro punk sound. Sparse, biting bass and delayed vocals fight and bounce of each other, while sampled drums and bongos add sinister elements, it comes off sounding like the warped lovechild of DIOYY? and These New Puritans, with a dash of The Big Pink for good measure.

Closer Bliss Out is one massive contradiction of a track. The opening 2 minutes, do nothing much, but end up sounding like some annoying ringtone that you chance upon when flicking through your phone bored one afternoon. Squeaky baby doll samples grate and irritate, giggling alongside obnoxious playground synths. Then at 2:22 exactly the whole thing transforms, tumbling 90’s piano is introduced and immediately it becomes a dancing, gyrating ”hands in the air” moment in its purest form. Agressive drums, smash and roll, while the vocals of unnervingly subliminal children proclaim ”We are all having a good time”, ending as if Derren Brown had rethought his career plan and started a project in Indie dance.

8/10

JT