Review: The Orielles, SWX

My formative years were fuelled by the indie scene, nothing will come close to that feeling I had in 2014 when – skipping art class in secondary school – I spent the morning hiding in the library to buy tickets to see Arctic Monkeys at Finsbury Park. This was big news at the time, I felt like a grown up, travelling from my native South Wales to London, staying in a hotel just to see a band I adored.

Heading into SWX, I was hit with a wave of nostalgia from my indie past. Wide eyed teens with trendy haircuts and Doc Martens made up a large majority of the crowd, along with what I can only describe as Radio 6 listeners. I was one of these back in the day albeit I didn’t have a trendy haircut. I now also listen to Radio 6.

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Arriving just in time for the second support, trio Drug Store Romeos oozed eerie dream pop and DIY-bedroom charm. Synth laden tunes and vocals which were verging on ASMR levels – raspy, lethargic and mesmerising. Reminiscent of the woozy work of Goldfrapp and, vocally, Grimes. Drug Store Romeos are solidifying themselves as one of the countries nu-wave shoegaze bands. I’ll be at their next show that’s for sure.

Heavenly Records singee’s The Orielles made their way on the stage with a roaring applause and kicked things off with opener ‘Come On Down Jupiter’ from their second album Disco Volador, released three days before their show. Die-hard fans in the audience are already singing it word for word. A twinkly and twangy number which has nods to ‘60s psychedlia, guitarist Henry gesticulating and bobbing from side to side like a David Byrne-cum-Ian Curtis archetype.

“Awrite me luvvers” Henry announces jokingly in a West Country accent. Their lyrics are mature and not your conventional sickly pop lullabies, ‘Let Your Dogtooth Grow’ oozed that early ‘90s Coors aesthetic whilst ‘Memoirs of Miso’ was jam packed with luscious chord progressions and do-wop drums. On record, the vocals are lathered in effects however this didn’t translate live. I felt as though the vocals were a bit too quiet and were overshadowed, the same goes for the keys and synths.

It’s fairly easy to spot Big Jeff at a show, either with sketchbook in hand of headbanging away, if he’s at one of your shows that’s when you know you’ve made the big time. Henry points this out saying “it’s Bristol gig bingo, Big Jeff is here!”.

Ending the night with the epic ‘Sugar Tastes Like Salt’ it’s transfixing riff which could easily pass as a Stone Roses bootleg, it’s well into the eight minute mark and is unapologetic and grandiose. Brooding, genre-bendinding and more importantly, incredibly fun to witness.

Main photo by Hollie Fernando

Read more: Review: Samantha Lindo, Rough Trade