Glasgow is awash with new music talent these days, at the forefront of the bands trading their wares comes the unique synth sounds of Brenda. To avoid any confusion, Brenda is a band, not a person, the coming together of the wonderfully unconventional trio of Litty, Apsi and Flore (also a member of another of the bands at the forefront of the current crop of extraordinary bands mined from this particularly giving seam – Water Machine).
While not exactly shrinking violets or introverted wallflowers, the band are modest in their own descriptions of their talents and musicianship, but in the opinion of this listener, their debut album is up there amongst my favourites of the year to date. Their retro Korg synth sound mixed with their multi layered exquisite vocal harmonies making it an addictively compelling listen.
The album mixes music that feels like the release of sheer unadulterated joy in its textured electro beats with lyrics which at times often sound and feel tongue in cheek, while at the same time making some serious points.
The bouncing synths which open the album on live favourite Pigs soundtrack an unflattering “tribute” from Litty to lazy loafing oafs everywhere, the glorious melodies declaring “you’re a pig”. The first single from the album Cease and Desist follows with its unceasing driving drums, buzzing synths and rolling guitar riffs telling an unrepentant tale of restraining orders and unforgivable actions before reaching a deliciously harmonious conclusion.
Recent single High Horse follows, Litty’s expressive vocal rising to an incredulous crescendo advocating that the antagonist of the lyrics stops being such a supercilious arse. Slave Dad with its laid back driving synth rhythm hints at pervy old men and S&M “You’re the best dad I never had, demand a slap but it makes me feel bad”.
Flore takes lead vocal on the bittersweet single Microscopic Babe, it’s melancholic melodies bemoaning a relationship on its uppers, with exquisite three part harmonies once again in the refrain (and acapella close), “bits of joy you are giving me are much to small, microscopic baby…”
Talking of melancholic, one of the album highlights has to be the sublime cinematic sweep of Sure As, the synth low in the mix, allowing the affecting vocal to shine, on a song that gives itself to those tearjerking dramatic poignant movie moments. Shield holds onto that drama, Apsi’s understated drum rolls, Litty’s surf guitar riffs and Flore’s minimalistic synth lines the perfect score to a song about the barriers we put up to protect ourselves.
The album closes with the hypnotic Sleep Walking which feels inspired by 1950s/60s dream walk rock n roll, with added synth. I feel as if I’m banging on about it, but once again I have to mention the sublime harmonies, one of the signature themes of this striking album. The song closes with a cacophony of electronic feedback leaving me wanting more. That would be my only wish for this album, that it was longer… but never fear, I expect great things to come, and in the meantime, I can return the needle to the start and enjoy it all over again.
Their album launch gig in The Glad Cafe at the end of the month (28th July), with support from Sacred Paws Rachel Aggs and label mates Casual Worker, another of those bands pushing their way to the forefront of the current crop of Glasgow bands, is set to be one of those “I was there” gigs I’m sure.
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