London band Lea Shores is fronted by twin brothers Simon and Nick Webb with James Smith on guitars, Gabriel Lloret on bass and Nick Foot on drums. Violinist Neil Catchpole also makes a contribution on this debut album.

In recent weeks I’ve received several albums which are clearly influenced by the psych-rock of the 60s, and especially in the area of vocal harmonies by the Beach Boys and duo Simon & Garfunkel. The Phil Spectre influence can also be heard in the production of these records. I suppose the fact that we’re in the early part of what promises to be a hot summer has nothing to do with it… It’s not that these 60s acts have not been a major influence for many years (and rightly so), it’s just that right now those influences seem to be particularly strong.

Young Paul Steel is a standout example of taking the sound upstream and creating something quite epic and distinctive. The Lea Shores have also succeeded - to an even greater degree. The album opens with ‘Velvet Lies’ which is a prime example of how a rock-pop band can take the above-mentioned influences to create a distinctive sound. The pace is rapid,  the guitar licks and drum rhythm are relentless, the dual vocals pitch-perfect, the ambience nothing short of epic. Perhaps the crescendos/choruses could be more vicious, the melody stronger but when all is said and done it’s a powerful opener. ‘Fear SOS’ makes stronger use of the echo chamber and includes some clever changes of pace as it drops several gears after the middle-eight while the sound also changes from Spectre-esque to Simon & Garfunkel. Clever! ‘Rise’ has a blues vibe as it moves along at a tad over snail-pace with the solo vocal dominating and making a strong impression. Instruments are more subtle as they follow the vocal to create an ethereal and quite beautiful ambience. Melody is also strong and production just about perfect.

‘Guillotine’ opens in Rolling Stones style before revealing another song with swirling guitars and echoed vocals. Lyrics are typically good (”You’ve got your head in the clouds but the morning cuts you down to size…”). Melody is particularly strong and the Spectre-esque production puts the seal on an album highlight. ‘Brand New Day’ opens with deathly drum beats before distant vocals come into focus with some of the finest harmonies here. Keyboards make a vivid entrance later in the song as the vocal harmonies soar and those tribal drums continue to underpin another excellent track.

‘Butterfly’ is one the band’s older songs (from a previous E.P.) and a good one. The vocals dominate this in no uncertain way. And for the first time the violin is given space during the second half of the track. There’s also melody by the truckload and peerless production to make this another highlight. ‘Leave Me On My Own’ is an example of how (unlike Fleet Foxes) the band injects sonic diversity, this time with a fabulous bass guitar passages alongside dreamy hammond moments. The vocals are also clearer as they appear stage-front and then disappear into the distance. ‘Ride’ has a distinctly rocky, darker vibe while the final track ‘Open Valve’ has a chain-gang, blues vibe with a powerful rhythm behind another set of dominating vocals. The melody is powerful while the distinctive outro underlines the song’s theme and ambience.

The more I review, the more I recognise that first plays are totally inadequate in providing a fair and just assessment. And so it is here. I was sceptical at first audition but by the third listen I was won over by what the guys have achieved. The diversity of sound through the album is subtle but tangible. The vocals and instrumental arrangements are wonderful and distinctive. Production by Ben Hillier is superb.  This is an assured and mature album that I’m pretty sure will figure strongly in our best-of-year selection. All that remains is to see this band perform live to see just how this album translates…

4.3/5

www.theleashores.co.uk