From the first strums of opener and blog favourite, ‘Found Love in A Graveyard’, Veronica Falls wear their influences big to see—jangling indie pop, boy-girl doo wop harmonies and ramshackle garage guitars. Sounding like an artefact unearthed from the 80s Rough Trade catalogue, with particular reference to Young Marble Giants and The Pastels, Veronica Falls are so indebted to the indie sounds of yesteryear, that their relevance is directly tied to whether they can bring anything new to the table.
Fortunately they have a fine ear for a sly hook, catchy and inventive riffs often skipping down into an unexpected minor mid flow. This gives a quintessentially English sick/ sweet sensation to much of the album—the vocal harmonies pitch perfectly with one another, jar against sudden lurches into discord, then chime once more.
This bittersweet framework is mirrored in the lyrical content, from ‘Love in a Graveyard’s tale of falling for a ghost to ‘Wedding Day’s chorus of “so sorry I missed your wedding day// there’s nothing left for me to say// except you don’t look at her like you’re looking at me”. Those eternal pop themes of love, angst and heartbreak are a good fit for Veronica Falls, and add up to a strong debut, albeit one that has arrived later than expected- the band have been candid about the difficulties plaguing the release, scrapping the first recording completely- presumably having discovered that it’s harder than it seems to sound just the right sort of shoddy. What they’ve released instead is a succinct blast of classic British indie, squarely addressed to eternally teenage hearts.