Before I begin this review I should say right from the onset that I’m something of a fan of Sam Genders and his previous work under both the Diagrams monicker as well his work with Tunng, so I guess before hitting play my expectations for Chromatics, were pretty high.
Since Sam’s debut album as Diagrams, 2012’s Black Light, he’s upped sticks from his previous London home and settled in Sheffield and with the move brings new friendships, relationships and indeed influences and Chromatics reflects all of that and more. Whilst the previous album fizzed with electronics, programmed beats and funk grooves, the new album has an altogether more organic sound, as Sam collaborates with a number of musicians to create a rich tapestry, combining folk, indie and pop elements to dazzling effect.
Chromatics fizzles into life with Phantom Power, a track that begins with a combination of strummed acoustic guitar and keyboards alongside Sam’s delicate soulful croon before reaching a wonderfully infectious pop-laden hook, that’s again reprised throughout the duration of the delightful three and half minute opener.
Gentle Morning Song, showcases Sam’s use of subtle electronics to pepper his material, layering effects and keyboards alongside electric guitar and distorted harmonies to form a wonderful, dreamy slice of indie-pop again with that all important vocal hook present and correct. The title track is a gentle, lulling, folky number that’s fused with a morse code like coda, bubbling away beneath the song’s surface, whilst Sam build’s a glorious keyboard led melody around his softly caressed vocals.
Both Shapes and Dirty Broken Bliss bring something new to the mix, with the former adding bird song, viola and wordless siren like harmonies as Sam offers a psychedelic tinged opus, whilst in direct contrast Dirty Broken Bliss, is an addictive, pulsating synth-led slab of electronic indie pop that could have been lifted directly out of Apples In Stereo’s songbook. The Light And The Noise could have been beamed straight from the sixties, with it’s phased vocals and retro melody, whilst the albums closing number, Just A Hair’s Breadth sees Genders crooning over an almost orchestral arrangement, again showcasing his widescreen approach to writing and arranging.
Chromatics hasn’t just matched my expectations, it’s blown them out the water, the eleven track affair is the first must have album of 2015, it’s a diverse, seductive and intoxicating look into the eclectic psyche of one of music’s modern day mavericks. Sam Genders has more realised and captivating ideas on Chromatics, than most groups muster in a lifetime.
Rhythm & Booze Rating 10
www.diagramsmusic.co.uk