In 2014, the British band Childhood released Lacuna, an unconventional indie pop album. Fast forward to 2017 and Childhood have upped their game, issuing a follow-up with a ’70s soul and funk style. Their unorthodox sound carries a revitalising attentiveness on Universal High, bringing a fragment of old-time sounds to the modern era.
Containing an amalgamation of curious instruments and satisfying vocals, ‘Universal High’ implements a variety of musical melody’s, yet still manages to carry off that simplistic vibe which adds to its effectiveness. Rather than sounding too busy, the songs are smartly arranged to maintain an almost stripped back feeling which aids in captivating those who listen. Though, at times this meant the middle tracks all seemingly rolled into one, disappointingly creating indistinct, forgettable tunes.
Immersed in retro ’70s, opener “A.M.D” showcases just how much Childhood have modified their sound. Frontman Ben Romans –Hopcraft unleashes soft monotone vocals, which, combined with a euphonious guitar, carries the beginning of the song. The change-up occurs in the chorus when Hopcrafts falsetto pitches accompanied by a 70’s funk keyboard and gospel choir, enchant a beautifully organised track.
Following on from “A.M.D”, Hopcraft once again hits us with a smoothly orchestrated, falsetto filled sound. The Pharrell-like track “California Light”, the album’s first single, proves that groovy, smooth melodies are by far the new sexy. Spiced with a body moving beat, this track is simply infectious, ending with a few soul guitar strums tops off a hugely catchy beat.
From groovy, smooth rhythms to a funky upbeat dancefloor hit, “Too Old for My Tears” provides the well needed buoyant sound which is there to get you dancing. Only two and a half minutes, this song provides a snippet of nostalgia, images of ’70s discos filled with foot tapping party goers. Childhood have certainly provided a feel good track infused with happiness. This seems, however, to become the peak track of the record.
As much as it is catchy, too much of the same is never a good thing, unfortunately ‘Universal High’ falls into the trap of repeating similar sounds. With the exception of ‘Monitor’ – the ending track – the others seem to become indistinguishable and therefore a tad dreary. “Melody Says”, the title track and “Understanding” all struggle to provide unique distinct sounds which were present at the beginning of Universal High. ‘Monitor’ however, saves the latter half of the record from falling into the abyss, it is an admirable way to complete a mostly well thought out album. Synths and bass compliment each other to provide a smooth running track, envisioning driving down the highway into an unknown world, Childhood capture perfectly a way in which we can travel into the future with the power of music.
Despite the use of similar rhythmic tones (which let’s be honest every album contains nowadays) Childhood have an undeniable talent in the way of using simplistic instrumental sounds – with the help of Hopcraft’s incredible falsetto vocals – to mesmerise anybody who listens. The wonderful melodies take over bodies and entrance minds. A surprisingly pleasant album which produces the well needed nostalgia in today’s modern world.
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