New Electric Ride
Balloon Age
February 25 2014 (Beyond Beyond is Beyond Records)
9/10
Words: Leanne Crowley
The debut offering from New Electric Ride has a lot to offer and is in essence pure nostalgia in one neat little package.
Opening with a classical instrumental, 'Ode To A Bumblebee', it's far from being your average starting point for any modern album. But moving swiftly into 'Here Comes The Bloom', the strong psych presence shines through with swirly vocals, edgy guitars and rhythmic drumming. The organ elements from Paul Nelson become apparent as the track progresses and the added bass line section is a nice touch.
'Marquis de Sade' is one of the stronger - and darker, as its title may suggest - tracks on the album with its high vocal delivery and fast-paced heavily effected sections - and all this before the full psych kicks in. The lengthy instrumental in the middle followed by French samples is striking, with clear hints of Tame Impala to be heard. 'Bye Bye (Baton Rouge)' has a different feel again with its early Beatles style vocals and marching drums. The organ grinds and strong guitar riffs from Jack Briggs swirl and twinkle, there are a wide range of sounds on display here and it is difficult to take them all in simultaneously.
The strongest track on the album comes in the form of 'A Submarine Song' which displays psych at its best, sending the listener back to the mid-60s. The track and indeed the album progression so far is so fast-paced it leaves you slightly breathless. 'Bring What You Expect To Get' has a fleeting accordion introduction before the organ begins to oscillate and the minor key here makes a difference and has a less upbeat feel. Elsewhere, 'I Feel So Invited' is a reprieve of yet more swirling vocals and tambourines, it is tonal and enchanting as it fades into 'In Chains' where the guitar, organ and drum elements work in unison to create a strong overall sound.
‘Lovers' has a moody guitar beginning, reminiscent of the Jimi Hendrix Experience, and the guitar and vocals bounce off one another. The bass of Adam Cole is a strong force here and when added to the guitar riffs already present, the result is striking. Penultimate track 'The Beyond' has persistent organ input and rolling drums from Craig Oxberry, add tambourines once more and when the track slows at the chorus before racing ahead, the elements collide. Closer 'From Under Me' is heavier than preceding tracks: the juxtaposition of the styles keeps the album interesting. There are wood instrument sounds once more and the ending is pure psych noise.
'Balloon Age' has a dual personality: on one hand heavy and intense, on the other twinkly and mellow. Together it becomes an album impossible to leave. As neo-psych goes, it doesn't get much better than this.
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