In accord with San Cisco’s string of hook-laden singles, the Fremantle quartet’s debut long player is a chipper affair. The 12 song album displays development in both songcraft and an understanding of each other as musicians. The band have identified how to expand their sound by cleverly utilising their constituent components. Throughout the album the young four-piece explore various zones of pop and rock with bubbly consistency.
Josh Biondillo’s introduction of a company of keyboard into the fray seems to have been a major catalyst for venturing into new territory. This is most evident on album opener Beach, which is a synth-soaked dream. The shimmering pop song, with a chorus led by drummer Scarlett Stevens’ vocal, hints at naff but it’s more pretty than mercenary.
The guitars that dominated the band’s cheeky indie-pop on their two preceding EPs return to the fore on the jangly Fred Astaire and similarly Jordi Davieson’s recognisable bratty vocal charm resumes its place next to surging distorted guitars on No Friends.
Alongside the lively portrayal of youth, Lyall, and the bold keyboard foray, Mission Failed, are some moments of relaxed sophistication. The album’s two standout tracks Hunter and lead single Wild Things are perhaps less obvious, but they’re very confident pop songs.
San Cisco’s organic adaptation to new living conditions indicates that the band’s ingredients have sat with each other long enough to evolve effervescence, rather than fast tracking carbonation and producing a neutral flavour.
There’s a ‘handmade’ banner that proudly hangs above San Cisco’s music. They don’t try to cover up that they were there touching things and interacting as a group of bodies. San Cisco’s self-titled album doesn’t try to bend the pop song form, nor does it make stylistic departures just for the hell of it. They carefully seize their strengths in a manner that lets them capably execute stylistic tangents.
BY AUGUSTUS WELBY
Best Track: Hunter
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In A Word: Equinox