The Gresham Flyers
Sex With Strangers (Cherryade)
The definition of Twee may stir up debate and controversy in some circles, an ambiguous label encapsulating many different sounds and styles. Paul Morley even dedicated a whole radio program to it, trying to come up with the answer; however I’m pretty sure most would concede that sending a giant cherry-flavour penny sweet in promo copies of their album is surely the embodiment of twee itself.
London quintet the Gresham Flyers’ debut album, Sex with Strangers, isn’t as sleazy or titillating as the title may suggest, however it is unashamedly quaint, quirky and delivers moments of fantastic synth pop.
Album opener ‘Everyone Has to Meet Somewhere’ sounds like a cross between a chirpier Buzzcocks (guitarist/vocalist John Waring straying close to Pete Shelly territory) and the Super Furry Animals. Whereas on ‘Student Nurse’, John seems to do his best Jarvis Cocker impression but with lines like “I wasn’t looking for a mindless conquest despite the fact that I’m in love with your chest ohh.” and some other hastily forced rhymes, it fails to hit they mark. Forgiving the minor lyrical indiscretions and nods to their idols the albums shining light is Sharon Leach(Vocals/keyboard) operating the wonderful analogue synth which holds everything together giving the album both it’s quintessential quirky feel, adding swirling soundscape and atmosphere while boosting some of its weaker points. Although their vocal interaction and chemistry can be a bit hit and miss at times, songs like ‘Foolscape’ which Sharon takes the main vocals to good effect backed wonderfully if understatedly by John, is a great example of the great retro synth pop (very much in the vein of OMD ) that they are capable of. The dynamic and lively ‘Cricket Bat’ brings to mind mid 90’s Indie Pop of the likes of the Bluetones or the Supernaturals. ‘Higher Education’ is where John and Sharon’s chemistry and vocal interplay works perfectly, relating a charming tale of summer love, they just about pull of soppy romantic lines such as “We’ll lie down together, the world population has shrunk down to just me and you…middle of nowhere, the moon reflects off of the sea and your delicate skin” breaking out a cheesy guitar solo (with tongue stuck firmly in cheek). The upbeat ‘Shift Work’ has some nice wispy guitar work, while John laments time wasted working which could have been better spent with a number of females that appear to have slipped through the net. Tracks such as ‘Red Nose Day’ with its spoken word interject from Sharon, glistening synth and beautiful harmonies certainly recall Saint Etienne in their heyday. Final track ‘Pretty But Not beautiful’ starts of with a military sounding drum shuffle with sparkly sounding keyboard gradually descending into what sounds suspicious like Talking Heads, Road to Nowhere, with U2’s Edge taking the lead guitar duties near the end, I can only assume they were aiming for an anthemic finale.
A whimsical debut album from a band that seems to wear their idols on their sleeve but still feel comfortable in their own skin, they may lack some of the wit, charm and edginess of their heroes but they are capable of good story telling and instances of genuine pop bliss whilst melding some of the finest indie pop of the last 20 years into their own form.
Craig Harkness
