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Flyte — The Loved Ones (25th August 2017)

Flyte — The Loved Ones (25th August 2017)

            Flyte — The Loved Ones (25th August 2017)   Flyte — The Loved Ones (25th August 2017)≈≠↓    Debut album from Flyte, crafted and intricate indie~pop songwriting with a plethora of harmonies. Check this out if you’re into the likes of Grizzly Bear, Tame Impala and Mac Demarco.
≈≠↓    No album worth its place in the pantheon is made without the spilling of much blood, sweat and tears. Flyte don’t make life easy for themselves. They never use Pro Tools, instead practising intensely, honing and crafting each song until they know they can do a great live take of it in the studio. Harmonies are captured by having three voices sing into one microphone rather than using the more common modern technique of layering with overdubs.
≈≠↓    “None of the albums that inspire us as musicians are heavily edited, polished or overproduced, so we didn’t want ours to be either.”
Location: Hackney, London, England, UK
Album release: 25th August 2017
Record Label: Island Records
Duration:     34:33
Tracks:
01 Faithless     3:36
02 Victoria Falls     3:34
03 Cathy Come Home     3:45
04 Orphans of the Storm     3:29
05 Sliding Doors     3:32
06 Little White Lies     3:33
07 Annie and Alastair     3:17
08 Echoes     3:06
09 Spiral     4:16
10 Archie, Marry Me     2:30
Copyright: ℗ An Island Records Release;2017 Flyte under exclusive licence to Universal Music Operations Limited © 2017 Flyte
Personnel:
≈≠↓    Will Taylor     (vocals, lead guitar)
≈≠↓    Nick Hill     (bass, vocals)
≈≠↓    Jon Supran     (drums, vocals)
≈≠↓    Sam Berridge     (keyboards, guitars, vocals)Fotka uživatele Ben Tais Amundssen.
Description:
≈≠↓    ‘Echoes’ is a victorious new arrival for Flyte. Claiming new sonic territory with cinematic synth melodies and vivid storytelling, the London four~piece collaborated with Courtney Barnett producer Burke Reid to create a modernist but timeless record. Reveling in coming~of~age nostalgia and grand lyricism, whilst depicting themes of life, love and death, the band says: “We wanted to start with something thoughtful and introspective. Echoes is a turning, twisting melody about trying to hold on to meaning, living in the afterglow of a significant moment in time.”
Review
Words: Lewis Lister / Score: 8
A crafted, finely honed, and hugely impressive debut...
CLASHMUSIC  REVIEWS  25 · 08 · 2017
•      Flyte haven’t rushed their debut. It’s been well over three years and a million views since they uploaded a video of two of the London four~piece performing Joni Mitchell’s ‘River’ on Facebook.
•      Then followed radio silence, punctuated only by their sell~out club night ‘Chasing Heaven’ and beautiful cover versions of tracks by the likes of David Bowie, Arcade Fire and Mac Demarco. Beneath the surface, a metamorphosis was afoot. Working with Courtney Barnett producer Burke Reid, they were busy evolving their sound into something altogether more substantial, and the results are astounding.
•      There’s a classicism to the songwriting that means comparisons to The Beatles and at times The Beach Boys are unavoidable; but make no mistake — this album is no retrospective. The effect is transformative; so often you are at once hoodwinked into an odd sense of nostalgia for absolutely nothing in particular and compelled by its modernism.
•      Single ‘Victoria Falls’ is an excellent example of this; beginning with a kind of rhythmic muted echo — as if taken straight from the multi~storey car park in which they recorded Alvvays cover and album closer ‘Archie, Marry Me’. Before long, though, the track sees Flyte at their most gloriously unabashed — indulging themselves completely in just a few simple melodies before taking a complete left turn into a psychedelic middle eight. This structural nod to the classics is just one of so many moments that lends this ultimately modernist record such timelessness.
•      Lyrically ambitious, ‘The Loved Ones’ seeks to confront the listener with darker themes such as alcoholism, domestic abuse and mental illness, belied by the silken four~part vocal harmony arrangements that tie the album together. Album stand~out ‘Cathy Come Home’ does just that; weaving a tale of domestic abuse from the point of view of the victim’s parents among blissful melodies. The track then subsides into the quiet delicacy of ‘Orphans Of The Storm’, followed by the spine~tingling synth melody of ‘Sliding Doors’, which will haunt you for weeks (unless of course you’re unable to shake off the eponymous refrain from ‘Little White Lies’).
•      There are quieter, less immediate moments on ‘The Loved Ones’, sure, but never filler. This is the kind of album that’ll offer up a new favourite track with every single listen. ‘Echoes’ is a prime example of this; played in the background it’s so unassumingly pleasant you’d miss it. But listen again, and you just might find yourself completely captivated by its otherworldly dreaminess.
•      Flyte’s sound has changed completely; their boyish charm finding a new home in richly textured new territory. Taking the the time to craft, to hone and to consider has clearly paid off; resulting in an album that truly commands that same duty of care from the listener. ‘The Loved Ones’ is one to revisit.    •      http://clashmusic.com/
Also:
Charlotte Holroyd, August 25, 2017
Δ•    The road so far has seen the Hackney group of superb~voiced musicians, trailblaze with their authentic talent and stun with their carefully crafted songwriting. Now with a Burke Reid~produced debut album and a flurry of exciting endeavours waiting in the wings, Flyte prove that they’re more than just a one~trick pony — ‘The Loved Ones’ is not a collection of tracks from their back catalogue, instead the work focuses on exploration, through intensive hand~crafting and intelligent breakthroughs.
•Δ    Heading straight for the heartstrings and fuelling a clear vision of those mop~topped Liverpudlians, Faithless is ushershed in as the first manoeuvre from the London four, and doesn’t leave a dry eye in sight. This song in particular, has awarded much good fortune to the band – not just for its ‘fan favourite’ status but it’s one which the band consider to be ‘the song that got them signed’, so indeed a track that’s well deserving of its high placement and appearance on the record. Grandeur of keys waltz an almost Liberace flamboyance to Will Taylor’s candid voice as he traces a disseminating sadness of age~old understanding — that touches on forces linked to coming~of~age and the uncontrollability it identifies. It’s a plush listen; you get the feeling that the band and their producer have put their everything into the construction of this track, and it pays it dividends — the expression is all~but~touchable and the instrumentation is vivacious, leading to total submersion on the first track: a rare quality.
Δ•    Whilst ‘The Loved Ones’ remains impeccably ambitious throughout, there is still time for great hints of subtlety and remarkable lyricistry that pinpoint areas of familiarity, especially considering the variances of styles and influences that run a current through the record. Orphans of the Storm is a storyteller, gliding on the power of Will Taylor’s vocal line and a cushioned bed of his band mates’ harmonies, it harks to the softly poignant tones of The Walker Brothers.
•Δ    Distanced from the ‘60s leg of Flyte’s constitution, Sliding Doors and Little White Lies rev forward to the ‘80s for a shimmering disco~ball type of melancholy — the former is relatively downbeat but nevertheless a standout for its significant use of melodrama, which resonates impeccably. On the other end of the spectrum, Little White Lies is an all~out stomper, it has the tempo shift to thank for a lot of its appeal yet it also is fantastically catchy, and drips with memorable hooks.
Δ•    Other highlights arrive in the form of a proudly kaleidoscopic Echoes, the versatile bop of Victoria Falls and the cosy charms of Cathy Come Home. Yet it is the penultimate soar of Spiral that seals our verdict; this is all~encompassing, pure harmony~based song writing — no frills, no need for them. It’s marvellously bold~sounding British theatricality, a true send~off before the surprise cover of Alvvays’ Archie, Marry Me steps in as the clearest envisionment of Flyte’s vocal talents – captured in lush 360 panorama, it’s enough to make even the reverb swoon.
•Δ    ‘The Loved Ones’ exhibits Flyte’s rare breed of musical aptitude and grandiosity, this is a record that’s not just the sum of its parts but one that takes on a life outside itself — an album for the listener, as well as its creator. Decidedly an astonishing achievement for a debut and one we expect, will be remembered.
Δ•    Notes: Charlotte Holroyd: A lover of music and cinema. Constantly attending gigs and in search of a great experience.  ≡  https://bittersweetsymphonies.co.uk/
Twitter: https://twitter.com/Flyteband
Facebook: https://www.facebook.com/flyteband
Soundcloud: https://soundcloud.com/flyte
Website: http://www.flytetheband.com/
Label: https://www.banquetrecords.com/
Label: http://www.islandrecords.co.uk/island-artists/flyte/Fotka uživatele Ben Tais Amundssen. © Flyte at New Slang — photo credit: Abi Dainton
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Flyte — The Loved Ones (25th August 2017)

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