Once again, I find myself with a band who have released two amazing albums hot on the heels of each other. Swedish psych outfit Melody Fields have just released both 1901 and 1991 within a mere month of each other. I’ll get into talking about 1991 on the next blog but right now let’s explore 1901.
Melody Fields released their self-titled debut album in 2018 to rave reviews. It’s 60’s-tinged atmosphere made it a surefire hit leaving us wondering what would come next. Not content with merely reproducing that sound on these albums Melody Fields have expanded their sonic palette. The band had this to say.
“Our primary album, ‘1901’ can be best described as a rock album with psychedelic influences. It showcases repetitive guitar riffs, distorted soundscapes, and mesmerising three-part harmony vocals. Throughout these musical landscapes, we were fortunate to collaborate with guest musicians from esteemed bands such as GOAT and Holy Wave, who added an extra layer of sonic brilliance to the album.”
This sounds like an absolute treat for the ears. Let’s drop the needle and dive in.
The album opens on the sprawling and textured ‘Going Back’. The harmony vocal delivery is spot. Guitars full of eastern promise and the most hypnotic bassline. This is such a visual track; it transports you away to some far-flung desert to trek for miles through the hazy heat. Magical start to proceedings.
We segue neatly into ‘Jesus’ next. Horns blare as the song emerges fully formed and full of intent. The boy/girl vocals are delivered with the utmost cool while the band deliver their backing with real swagger. It’s that motif played by the brass section though that makes this song something really special.
As ‘Rave On’ bursts on to the speaker I’m reminded of the theme from the original BBC series of Hitchhikers Guide to the Galaxy. It’s a grand and sweeping melody that washes over us, lifting us up and carrying us off on our next sonic adventure. There’s so much to enjoy here. Layers of sounds and a stunning mix really reward repeated listens.
This is followed by the eerie tone poem ‘Mellanväsen’. It’s a moody synth driven Kosmische piece that acts as the perfect bridge between the full-on sunshine psychedelia of ‘Rave On’ and what follows.
And what follows is a revelation. ‘Transatlantic’ is a stunning track, full of experimental moments that lean into the more industrial and Kosmische genres but with an overall Madchester vibe. There’s an on the nose reference to Screamadelica towards the end, but rather than feeling tacked on it feels like a natural evolution of this track. In that one word, evolution, is the power of ‘Transatlantic’. It never stays still; more and more layers are added over its runtime until it resolves itself back into silence.
We return to the technicolour psychedelic sound on ‘Home at Last’. The drums add a sense of nervous energy that keeps everyone on their toes. Guitar / Sitar loops around and around the melody while the vocals punch through with their harmonised attack. Always restless, always moving along this is a lesson in this bands ability to make epic, cinematic soundscapes based on the simplest riffs and lyrics.
Following is the potent ‘Indian MC’ the two to ‘Home at Last’s one. These two songs feel like they were born together and went slightly different directions. Much more lyrically dense this employs a much heavier drum and bass track lending it a more serious vibe. The vocal harmonies are much more intricate and strike a very European tone which I love.
‘Void’ is another transitory tone poem punctuating the segue between tracks. Aptly named the spacey sounds echoing around an almost non-existent synth soon blossom to lead us into the light of ‘In Love’.
The band turn all the amps up to eleven on this one summoning their inner Mary Chain. This is a fuzz lovers delight and the gospel-tinged vocals coupled with the ferocious attack of the guitars makes for an absolute monster of a track.
The album closes out on the mellow moods of ‘Mayday’. Fans of Spiritualized will adore this one. The wonky guitars are the perfect foil to the exact and precise melody of the vocals. It ambles along before resolving into an increasingly intense series of synth squelches and swoops and then ……nothing. And it’s all over.
Melody Fields are leading the way with 1901. There brand of neo psychedelia isn’t just rooted in one genre. It leans into and borrows from many broad and diverse influences to create that signature sound. This is an album that will reveal more of itself each time you listen, which for me is the hallmark of a band that really cares.
1901 is out now on Coop Records and Nudie Records. Head on over to the Melody Fields Bandcamp page to check it out for yourself.
You can follow Melody Fields on social media here…
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