Album Review: Darlia – Candyman EP

By on Monday, 21st April 2014 at 12:00 pm
 

Darlia aren’t known for reinventing the wheel. In fact, they’re known for doing things by halves; half ball-busting rock riffs and husky vowels over arpeggiated melodies. And, so it is that the three boys from Blackpool return with a collection of tracks that can be defined by their relative diversity within this occasionally prescriptive spectrum. The timing of their latest EP ‘Candyman’, released last week on B-Unique Records, means that any prospective degree of success could serve as a potent fuel to the band’s festival prospects, having already signed up for the likes of Rock Am Ring, Great Escape and 2000 Trees.

‘Candyman’ (stream it below) starts bombastically; a mess of durgy power chords and high tension squeals that creates a rush of anticipation akin to the anticipation after uttering the famous title phrase 3 times in the mirror. In tried and true Darlia style, there is a significant tonal shift between the beef of the riff, and the jangling quorn of the verse.

[youtube]https://www.youtube.com/watch?v=zOqUVCFd6XM[/youtube]

Think A on the likes of ‘Nothing’; it is a complex tapestry, but one that has been stitched together with some accomplishment. The chorus is a catchy cacophony of rousing choral tropes backed by more meathead chords. But it is let down somewhat by a second vocal layer thrust so high in to the mix that it detracts from the main impetus. The solo sticks flaccidly to the top end of the neck, leaning back into a classic rock groove that fits with the overall flow but will not melt your face off. The track calls time with another round of chorus, pushing the limit of vocal reverb so much that it sounds as though it is being played from the back of a truck speeding past at 100 mph.

The second number, ‘Animal Kingdom’, is an altogether sunnier affair, still tinged with a kind of ‘Black Hole Sun’ quirkiness derived from an almost aquatic secondary guitar tone. Both tracks possess a singalong quality, but in such disparate ways. ‘Animal Kingdom’ attempts to inspire emotion in it’s irreverence, but ends up being almost irritatingly non-committal. This is highlighted by the spaghetti western solo, which seems to come from nowhere but is at the same time one of the most endearing and clear elements of unique character.

A rolling bass line comes to the fore on final track ‘Blood Money’. It is a track for the rhythm section purists, with verses supported by neat flourishes by Jack Bentham on the skins, creating an original beat with a cute little skip to it. Sadly, the rest of the number veers towards a kind of self-indulgent, fractious anarchy in the mould of The Vines, that cites it as the weakest of the three.

Overall, this EP is a bit like climbing into a steaming hot shower, only for your deaf nan to go and switch on the cold tap at the kitchen sink; it leaves you wet, exposed and just a little confused. The title track bears all the hallmarks of previous releases that have hiked the band up by the belt buckle to where they now dwell. But, ‘Animal Kingdom’ and ‘Blood Money’ feel like an experiment designed to find the answer to a question that didn’t need asking. Darlia don’t do dull. If they stick to massive riffs, melodic verses and a hint of wild-eyed warbling, then they’ll do just fine.

5/10 (7 for ‘Candyman’)

Darlia’s latest EP ‘Candyman’ is out now on B-Unique Records. As described by our Martin back in February here, the band will be making high-profile appearances at Liverpool Sound City, Live at Leeds and the Great Escape in May 2014.

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