Push the boundaries, test yourself, strive to achieve the unique sound shared by no other band. This was the apparent ethos of this South London trio on their journey to produce their second album ‘Till The Tomb’. With a noticeable invigorating air of confidence about them and a boost of maturity by means of experience, their new album achieves so very much.
Prepared to be thrown ears first into Beaty Heart’s hyper-infused electronic stylised universe with the strong statement track of ‘Flora’. Experimental fashion is portrayed by their eclectic mix of electronic bells and whistles textured in a wonderful melodic manner. And despite verging into psychedelia, the blissful tone of the tune remains calm and composed throughout.
On the road with neo-soul giants Jungle, they were offered a helping hand with this next one. Their diverse musical backbone is evident as sexy R&B vibes make themselves apparent in ‘Raw Gold’. However, the twists and turns of this track will put you on edge throughout, which means there’s no time to sit back and admire the essence of Josh Mitchell’s crooner vocals as the storm of bass kicks in.
But don’t fear, once ‘Glazed’ makes it way to you this is where you focus can shift to the impressive agile vocals of Mitchell . This is a soft yet majestic, uplifting track with the continuous re-emergence of the sound of a harp putting you at ease after the noisier roller-coaster of ‘Raw Gold’.
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These first three tracks make a case for the admirable bravery achieved by these indie-electro Londoners. In a consecutive trio of tracks by a single artist, it is rare to find such a hunger to achieve a different overall sound and an emotively different impact on the listener. Surprisingly ‘Till the Tomb’ is quite a slow burner, despite its collected style, the safeness of the tune makes you question whether it ever truly meets the height of euphoria Beaty Heart may have hoped for.
Resembling the spiralling stop-start vocals of Tune-Yards but with a less intimating playful Vampire Weekend warmth for those who take experimental indie with a pinch of salt. Those converting from an origin of pop, looking for a combination of catchy tune and chorus will be happy to find ‘Soft Clay’ fills that void perfectly.
Momentum slows down somewhat after ‘Soft Clay’. ‘Good Bunch’ is a fun bouncy track which will put a smile on your face, but has the tendency to go unnoticed after the more impressive overpowering sounds in the previous tracks. And the collation of an ambiguous mix of styles infused to make ‘Green Grass’ and ‘U Say’ who’s stumbling sounds fall short and struggle to find a solid place within the album.
The raw penultimate track of ‘Slide to the Side’ picks up the pace a bit with the minimalist but effective tuneful harmony, spirited vocals, spacious exotic beats and vibrant electronic sounds reinforcing the subtlety of it all. With its sub bass undertones this one will get you onto the dancefloor in an instant.
‘Death Metal’ is as far from the so-named genre as you can get. In fact according the band they named it ‘Death Metal’ as they believed it had a weird feel to it. This is certainly true as the longest track on the album song pushes the boat out into a land of tribal sounds and groovy sways taking you on quite unique experience.
Mastering the forever impressive art of texturing, you just have to give it up for this London trio. It’s one thing discovering and implementing weird whimsical sounds, but to then construct them in this way, that is what truly counts! Despite losing a bit of steam halfway through and getting lost in the sheer amount of sounds, they have still produced an album worth listening to for all those who are longing for a bit of sunshine and dance in this gloomy summer.