Veronica Falls Veronica Falls
(Slumberland)
Among the noise that permeates the current indie pop landscape are a few bands that are skilled enough to cut through with some noise of their own: With their debut, Veronica Falls look to be one of those few.
Noise being the name of the game, it's important to pinpoint what sort of noise Veronica Falls is pushing: This isn't your garden variety reverberating noise (though there's some well-used reverb at play here), but rather some good guitars-drums-and-vocals stuff.
As much as it fits in the modern indie pop sound, Veronica Falls seems as much a rushed marriage of Pixies-infected indie rock infused with that unforgettable C86 sound. Elements of surf, twee, punk rock: it's all here with vocal melodies leading the way.
It's particularly interesting that arguably the standout track — the one, at least, that recalls most the indie pop world of the 1980s — sits right in the middle of the album. Stephen is a breath of fresh air when the surrounding tracks get a bit dense with the sound. It's the dreamiest of the bunch, and the harmonies that fill the song are as dominating as any moment on the album.
It's of real note because you don't quite expect the album to peak there — and there are certainly other great moments on the album — but in doing so, it provides a codifying moment, and the sound clicks from there forward.
I suppose this isn't an album for everyone. On first listen, the guitar's a bit abrasive, and the jangliness of it all might be a bit too much for the uninitiated, and sure, the first few tracks can drag a bit. But this piece of indie pop exudes a strongly historic sound that wouldn't be out of place on NME's classic compilation. An excitable sound, great vocal harmonies, a jangling noise that is immensely listenable: It's all here, it's catchy as hell, and it's exciting.