by Ollie Rankine

Where there is music, there will always be context. Records frequently come and go with time whilst each carries the weight of their own totally unique backstory. However, very few will match the immensely weighted and tragic baggage attached to what will be Viola Beach’s first and only album release. Almost six months ago now, the world of music gasped in transfixed horror after learning the news that the young and budding indie outfit had tragically lost their lives in a car accident whilst touring festivals in Sweden. Being practically on the cusp of attracting mainstream attention, all four band members, Kris Leonard, River Reeves, Tomas Lowe and Jack Dakin along with band manager, Craig Tarry had their blossoming futures unjustly ripped from their grasp only to leave behind an outpouring of sorrow and sympathy from mourning family members and fans alike.

Since then, much has happened. Apart from the mass of tributes being staged from all corners of the country (most notably, Coldplay’s Glastonbury headline cover of ‘Boys That Sing’) thanks to the devoted efforts of friends and family, the band’s unfinished debut has been compiled and completed to ensure Viola Beach’s legacy lives on in the brightest fashion possible. After listening to what will be the only extended collection of music Viola Beach can offer, the cold realisation of the talent and potential lost lies devastatingly apparent.

By no stretch of the imagination is Viola Beach perfect, but the foundations of a band bound for prosperity were certainly in place. From the innocent and youthful energy radiating from the sun kissed melodies to the consistently accessible lyrical content, Viola Beach’s debut is an indisputable soundtrack to summer, leaving absolutely no space for the dreary or mundane. Singles ‘Swings And Waterslides’ and ‘Boys That Sing’ both possess vibrancy and colour and tick the boxes necessary to be feel-good anthems.

The entire album has a sort crisp freshness to each groove that not only compliments the infectious melodies but also stands the band apart from many of their indie, guitar-based counterparts. Apart from the occasional hit and miss rhyme couplet, (they rhyme “rhino” with “wino”…) Viola Beach’s musically formidable debut should by no means be characterised by compliments solely driven by sympathy. Their legacy lives within the album they will unfortunately never hear however I remain confident their pride would have held no bounds. (7/10)

Listen to Viola Beach here via Spotify, and tell us what you think below! Did you ever see Viola Beach play live?