Even As We Speak – Adelphi – Pop Bliss

Even As We Speak Adelphi album review. A return to experimental pop bliss. First LP in a while on Shelflife Records

Back in the late eighties I fell in love with Sarah. No, not a girl by that name but the UK indie pop label that put out many great singles, eps and albums over an eight-year period. I believe the first release that I ever got from them was the “Something for The Longing” single by The Orchids.

I don’t know what it was that attracted me to it. Maybe it was the stark orange sleeve that made me buy it.

However, once I put the needle on the groove any doubt, I had about getting it was erased.

Just one listen to those jangly guitars and those lovelorn vocals was enough to make me fan of anything the label put out. After that I tried to buy as much stuff from them that I could find but alas I was only able to get a fraction of what they put out. 

One record that I was able to get my hands on was Feral Pop Frenzy by Australian band Even as We Speak. Coming out in 1993 it’s in my top ten of the best albums that the label put out. Full of bouncy and effervescent pop songs listening to it always makes me happy.

Sadly, following the album’s release, the band broke up with each member going their separate ways. However, due to the growing interest in Sarah records by collectors, the label Emotional Response put out a collection of the band’s BBC sessions which was then followed by a reissue of Feral Pop Frenzy. That lead to them reforming and putting out the excellent Black Forest EP and now this their second album.

Please support the band here

https://evenaswespeak.bandcamp.com/album/adelphi

One listen to Adelphi is enough to see that EAWS haven’t lost their touch for writing infectious pop songs.

On this new album the band doesn’t completely replicate the sound of their earlier material but instead combine it with some of their more experimental leanings. Take for instance the opening song “Someone” . The band manages to sound perfectly catchy and futuristic all at the same time.

It starts with some odd sounding keyboard sounds. Consequently, the voice of singer Mary Wyer comes in where from there, she sings over a mid-tempo groove of clanging percussion and more odd sounding keyboards. That’s just one of the many highlights to be found here. Other noteworthy songs include the pastoral sounding “Leaves” where Mary’s voice is front and center.

Meanwhile “Forgiving” is all bright and jangly until the chorus. Next bubbly synths enter the picture giving the song an otherworldly feel. On the soaring “Stronger” and the bright “Child” the band gets the closet to the sound of their earlier records. These tracks feature some of the best melodies on the album. Lastly, I have to mention the tracks “Signs”, “Sun” and “Unknown” which are the three most experimental numbers on Adelphi.

In the same vein, “Sun” and “Signs” both start off with a sample of an old technology. For example, in the case of the former, it’s a rotary phone while in the case of the latter it’s a fax.

After that, from there, both songs turn into futuristic sounding ballads where the band carries Mary’s lovely vocals over delicate sun kissed melodies.

As far as “Unknown” is concerned it’s another strong example of Even as We Speak’s ability to sound all dreamy and glimmering simultaneously 

Let me conclude by saying that Adelphi is very strong album. Hopefully we don’t have to wait another twenty-seven years to hear from them again.  

– Bernard Ashbahian Instagram @berjfavoritemusic

All photos – Joshua Morris Photography

Editor note: Read about pre Adelphi release and Bernard’s other review https://meatsheetfanzine.com/the-beths-jump-rope-gazers-carpark-records/

https://meatsheetfanzine.com/even-as-we-speak-blue-eyes-deceiving-me-single/