The Boat People -Chandeliers

Mon 14th Jul, 2008 in Music Reviews

Chandeliers is the sophomore album from Brisbane’s The Boat People. It is the follow-up to the critically lauded yesyesyesyesyes, which was given that name because they wanted to give people a sense of the group jumping out of the speakers and giving the listeners a bear hug through the music. With Chandeliers the name derived from the group’s desire to make music that sounded bright, shiny and with real grandeur to it. And this record does live up to the title. The eleven indie pop tracks have a light, golden aspect to them, ensuring that the band’s material sits well with the other acts signed to Ivy League (as these guys signed a publishing deal earlier this year with this indie-rock institution).

The album begins with the new single, Awkward Orchid Orchard, which some people may already be familiar with, as it contains an interactive element having many different artists’ names hidden in the accompanying visuals. Musically though, it sounds like a cross between George Harrison’s Blow Away and a Youth Group song; and it is neatly packaged into a treat of absolute tongue-twisting fun. The subsequent track, On Your Side, has an almost Britpop feel and is reminiscent of Blur.

The curiously-titled Born In The 80s has garnered much attention from fans that were born during this ambivalently perceived period. However, the song is not actually about the era at all. Instead the name originated during a show where the stage banter turned to the topic of “cool, old-school eighties items” like yo-yos, glow in the dark stickers and shows like The A Team- and hence, the name was born. In fact, the song actually sounds like it belongs in a Jeans advertisement and really isn’t too far removed from my childhood, as it sounds like a halcyon throwback to a generic youth.

Some upbeat ditties follow, including Light Of Love (You Got A…), which is rocking despite its driving force being some funky piano. Meanwhile, Panic sounds like an innocent fifties pop classic, with the band having a romp around the old jukebox. The final track, Millagri, is the collection’s standout and is a perfect pop song glowering with atmospheric undertones and floating voices. It is certainly an ideal high note to finish the album with. In sum, the record lives up to its name, with eleven gorgeously golden indie-pop tracks that are packaged as good clean fun the whole family can enjoy.