Los Angeles – Catfish and The Bottlemen is an indie garage rock band hailing from Llandudno, North Wales. The quartet has been piloting the U.K. indie rock circuit for several years with a few EPs under their belt. This past year, Van McCann (lead vocals), Johnny Bond (lead guitar), Benji Blakeway (bass guitar) and Bob Hall (drums) have performed at numerous music festivals throughout the U.K. Their debut LP, The Balcony, released in the U.K. in September, arrives in the U.S. on January 6.
Caught somewhere in between emerging UK acts such as Arctic Monkeys and The Vaccines, Catfish and The Bottlemen have a distinguishing quality that differentiates themselves from the pack. McCann noted that both Oasis and The Strokes have inspired him, in which some circumstances you can hear the influences bleed through the band’s material. Catfish and The Bottlemen have been touring extensively and their hard work is paying off. The Balcony is a record filled with pent-up anger that displays extensive, spiraling choruses best suited for stadiums from my perspective. The path being traveled on isn’t anything quite new yet the way Catfish and The Bottlemen are going about it feels organic and authentic. Their addictive, raw, and immensely fervent rhapsody signifies the workings of seasoned musicians and still this is merely just the beginning for Catfish and the Bottlemen.
“Homesick” leads The Balcony with a soft opening before bursting with vigor. At two-and-a-half minutes, it’s a terrific opener setting the stage for what’s to come. “Kathleen” is one of various singles the band has released over the past year. It’s a razor sharp track with sawing guitars and heart pounding drums. Instrumentally it sounds like a Kings Of Leon track that’s paired with a British accent. McCann possesses weathered, but self-confident vocals. “Pacifier” is a colossally sweeping endeavor that deliveries spirited melodies and huge guitar hooks. “Hourglass” is a barebones acoustic track, the only one found here. It’s squarely placed right dab in the middle of the album. “Business” explores themes of young love infused with a lyricism leaning toward alcohol and nostalgia. Slick guitars, swift drums, and an instrumental structure with impetus, “Business” makes all the right choices from start to finish. “Fallout” soars and dazzles with its final minute being utterly dance worthy. As the drums pound, your head goes up and down, side to side feeling once again alive. The Balcony for all it’s deeply rooted rage, longing, and intensity makes one feel very alert within one’s own ever-changing (or seemingly never changing) surroundings.
“Sidewinder” is a strong addition with transcendent guitar riffs and fantastic bass lines. Catfish and The Bottlemen explore both poppier and harder rock echoes that ultimately offer the record a keen sense of balance. The longest track is the closer, “Tyrants.” The song feels appropriately titled with commanding guitar riffs, assured vocals, and enrapturing drums. The guitar solos toward the end completely rivets one’s undivided attention as the record comes to an absolutely exhilarating conclusion. At 11 tracks and 37 minutes, The Balcony proves to be a great leap forward for a band exposing tons of potential and room for progression. I believe this electrifying record will positively be a fitting and desirable way to kick off one’s brand new year.
Catfish and The Bottlemen are currently on tour in the UK. Check out the band’s Facebook for their January dates in Australia followed by a North American tour in February.
Sean Kayden
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