Blue Violet have been championed by some influential radio stations including BBC 6 Music whose Steve Lamacq described them as “a cocktail of Iain Banks and Jane Austen”. I can see where Steve was coming from having witnessed Blue Violet for the first time back in November. To continue Lamacq’s literary comparison theme I would add Douglas Coupland. Their music has a dark and mysterious pop rock style and is loaded with great hooks. Their new album has arrived and what a delight it is! This sophomore release follows their debut, ‘Night Calls’, from 2022. It contains six very classy songs issued as singles across 2024 and 2025. The collection opens with the current single “Sweet Success.” It is a well-crafted slice of electro glam pop. This track draws on a diamond-studded history of some fine British bands like Depeche Mode and the Eurythmics. It has a mesmerising marching synth riff. “Imagine Me” has a darker feel which borders on Sisters Of Mercy territory and incorporates some fabulous synth riffs. Lyrically it seems to be a tale of stalking after a failed relationship. Although I could be wrong. If you like 60s influenced pop rock, then “Survival” is for you. I love the 21st century girl group feeling it has. It features a fabulous everything but the kitchen sink psych-out towards the end. The percussive opening on “Talking To You” is deeply hypnotic. Sarah McGrigor’s voice here made me think of Sarah Nixey, vocalist with cult British band Black Box Recorder. One of my favourite tracks on the album is “The Librarian”. The slow brooding vocal from Sam Gotley with a gorgeous counterpoint drew me back to those heady days in the 90s when Babybird first broke through.
Musically “Cold Hearts” feels a little like the Police’s “Every Breath You Take”, but it is so much more with a beautiful lamenting vocal performance from Sarah. Warped guitar riffage and crunchy synth sounds open “Boogie Shoes”. I think this should have been a huge hit when released as a single last year. Can we get it out there again? How can a lyrical refrain like “dance for pleasure, dance for pain” be ignored? Another single, “Fire” has a wonderful funk injection and is a song that it is impossible not to move your body to. “Teeth Out”, what a great title that is, oozes magnificent dark balladry. If a new take on ‘Twin Peaks’ ever materialises (RIP David Lynch) this song must be on the soundtrack. A paean to equality and being who you are is what “Barefoot On The Seine” is. It hides it’s darker moments behind some of the sweetest pop sounds imaginable. The title track, “Faux Animaux”, closes the album. It is cinematic and neo-classical in scope and ambition. It draws on the essence of later period David Bowie in its desire to be different. Of that final song Sam Otley says “The fake animals could be seen as the powers that be, leading us down paths that result in us ignoring our more natural instincts, often making decisions without our permission.” It is a great way to end such a fabulous album.
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