GARDENS & VILLA
In the year of the saxophone, Santa Barbara's Gardens & Villa give us the flute. And along the way, G&V effectively wipe clear the vaseline from the murky bedroom funk of recent days. G&V bang out instant classics -- each crystal clear and immaculate, but no less sweeping or languid. Their debut is a youthful exploration of just how opulent and pop starkness can go. It also leaves an impression of Californiain the way that Richard Diebenkorn's Ocean Parkseries or the pool party scene from The Graduate both do, always sensed more than stated outright.
Gardens & Villa channel all the taut pop precisions of 90s Britpop of bands like Blur (borrowed from the 60s any how), and send it through an 80s synth filter both undeniably coastal and modern. It's Spoon's Kill The Moonlight lost in a daydream, but with that same hungry energy. Gardens & Villa may simultaneously pull from Gary Numan, The Kinks and odder prog within one composition. And like a fine sweet tea, it's made just that right kind of sugary -- though even the most upbeat tunes have an undercurrent of the bittersweet and the lost at heart.
In 2010, Gardens & Villa traveled to Oregonto record their debut with visionary, vibemaster and labelmate Richard Swift. Together, they put some sand in the sheets of new wave ("Black Hills") and pop some translucent funk ("Orange Blossom"). There's also a level of effortless class maintained across the whole set. Each and every lush little gem explores the wonderful mystery between intuition and proficiency, between tension and repose.
‘A blissfully drifting collection of synth-led and flute-flecked songcraft’Q Magazine
‘A delicate smoky slice of romance that marks the Santa Barbaran quintet out as the next in line to Grizzly Bear’The Fly
Holiday Shores has redirected its solar vessel moonward, its controls set for the mystery and atmosphere of a lunar desert. The roving caravan pulls away from the salt-rusted ruins. And with a heap of guts, the band leaves in its bright chemtrails the musical hallmarks with which their 2009 debut was most closely associated (highlife guitar aerobics; new surf music). Their sophomore leap, New Masses for Squaw Peak, gifts unto us bold, surprising new textures and denser, cheekier ideas and themes. It's packed tight with style: gauze-flange experimentation; jazz-chord death-pop; shifty proto-prog; historical and personal mythologies weaved through its passages. HolidayShores might be prog-rock in the way that Ariel Pink might be prog-rock. It's shape-shifting pop songcraft that will slip from your fingers like a sea cucumber the very second you think you have hold.
Tickets are priced at £7.50 and are on sale now from the following links: TicketWeb / SeeTickets / WeGotTickets