With four top 5 UK albums and countless sold-out headline shows under their belts, Stockport-born Blossoms are no strangers to the indie-rock scene. Whilst every Blossoms album has a distinctive sound, they have perhaps previously played it safe with fairly conventional, primarily guitar-based melodies; what is striking about Gary is Blossoms’ new, funky, synth-driven style.
The three singles, ‘What Can I Say After I’m Sorry’, ‘Gary’, and ‘Perfect Me,’ were the first hints that Blossoms would take on a more groovy approach in Gary. ‘What Can I Say After I’m Sorry’ is an upbeat number featuring a spritely synth beat. Its funky, 80s vibe is effortlessly cool, and the track closes with some stellar guitar playing from guitarist Josh Dewhurst. Despite its youthful feel, it is clear that Blossoms feel self-assured and confident in their abilities to release this admittedly genre-bending track as the album’s first single. ‘
‘Perfect Me’ is an energetic earworm and pairs a radiant synthesiser with a head-bopping melody, whilst the titular single ‘Gary’ features a joyous, infuriatingly catchy riff and chirpy vocals. Singer Tom Ogden recounts the story of an 8-foot tall fibreglass gorilla called Gary, which was stolen from a garden centre in Lanarkshire, Scotland, last year, breathing life into this largely unknown tale. ‘Gary’ is a song that doesn’t take itself too seriously, and it’s refreshing to feel that Blossoms are having fun creating these tunes.
While the 80s influence on Blossoms’ music has always been notable, these tracks take it to the next level
‘I Like Your Look’ is the most unusual track on Gary. It begins with a catchy drumbeat and laser-like synthesiser effects, and Ogden speaks rather than sings in the verses. This anthemic quality gives it an edge, and it’s not difficult to imagine ‘I Like Your Look’ being played at an old-school disco or club night. A persistent synthesiser, a groovy guitar solo, and the disco nod in the lyrics’ I think your flares are so cute, I like your look’ reinforce this disco vibe.
‘Nightclub’, ‘Mothers’, and ‘Slow Down’ play further into this retro, synth-fuelled fantasy. ‘Nightclub’ is a breezy, playful number with punchy keys, while ‘Slow Down’ is a smooth, chilled-out track permeated by a deep, twangy guitar riff. ‘Mothers’ takes on a softer tone, with Ogden’s silken voice again accompanied by a vibrant synthesiser.
The opening track, ‘Big Star,’ is notably heavier, building from a catchy, rocky guitar riff into a haunting, 80s-style psychedelic guitar solo, but it still retains Gary’s signature vintage feel. While the 80s influence on Blossoms’ music has always been notable, these tracks take it to the next level, embracing 80s synth-pop in all its glory.
Contrastingly, ‘Cinnamon’ is a stripped-back, sickly sweet burst of energy. Accompanied by an upbeat acoustic guitar, Ogden describes the euphoria of a new relationship: “You’ve had my mind running wild / every day for a while”. Cinnamon is a love song in its purest form, and its simplicity offers a refreshing contrast to the heavily layered, synth-driven songs of the rest of the album. Its euphoric, joyful acoustic guitar is reminiscent of ‘Ode to NYC’ from Ribbon Around The Bomb, but with the confident air of a band who, despite having mastered their sound, aren’t afraid to go back to basics.
It showcases Blossoms at their most authentic and creative
My only grievance with Gary is that it’s over too quickly. In typical Blossoms style, each track is relatively short and punchy, ensuring that no song drags out unnecessarily. But with only ten tracks, Gary almost finishes too soon. This is emphasised by the abrupt end of the closing track ‘Why Do I Give You The Worst Of Me’, an intense, frantic song complete with pulsing violins. Desperation claws through Ogden’s voice as he builds to the chorus, promising the potential of a cathartic, intense climax to finish the album. Despite this dramatic build-up, the song has a rather abrupt ending. I just wish there was more to listen to.
Beyond this, Gary is a triumph. It showcases Blossoms at their most authentic and creative, and the excitement with which they approached this album is palpable in every song. Most notable throughout the album is the bright, upbeat synthesiser, played by Myles Kellock, which features in pretty much every track. It gives a cohesive, vintage feel to the whole album, and it is apparent that each song was written purposely with this distinctive style in mind.
Plastered across Blossoms’ social media platforms is the message “Who would call their album Gary?” which feels apt considering the unusualness of this album compared to the guitar-heavy styles of other current indie bands. Having left Virgin EMI last year to set up its own record label, Blossoms are not afraid to break away from the conventional mould, and it really works.
Gary is a standout album. While hints of the classic Blossoms sound remain, this new, quirky direction showcases Blossoms at their best.
Recommended listening: ‘Gary’, ‘Cinnamon’
Words: Abi Manley
Images: Press
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