Little Comets - In Search of Elusive Little Comets, a review

It does rather seem that the North East has something in the water in the way of quirky-voiced indie music. With alumni including Arctic Monkeys, Maximo Park and The Cribs, there's something perennially British about them that other areas rather fail to capture. So step forth Little Comets, a new Newcastle band whose debut In Search... was released in February this year, albeit bypassing my radar. Never fear, after a request (omgz popular~) to review them I've given them a few listens and the outlook is bright.

They kick off with 'Adultery', a Vampire Weekend-influenced series of barked vocals and angelically pure guitars that almost fulfil a stereotypical quality about them, as if ready to go along with an already densely populated genre. The track is certainly catchy but it seems a shade too relaxed for a breakthrough. Meanwhile 'One Night In October' is a cacophony of tunes by comparison, rolling out the hooks with ease and more than making up for a disappointing start - also throwing in a few references to Carlisle just in case you'd forgotten their roots. 'Joanna' is perhaps the strongest Vampire Weekend influence, an almost piece-by-piece reconstruction of their signature chirpy vocals, quickfire riffs that make you want to dance, and bright tunes.


So 'Her Black Eyes' is a bit of a comedown, a parable of domestic violence that's as lyrically blunt as their piecemeal instrumentation. The chorus "A victim of his broken love, where tension and silence can turn into violence" resonates, adding another trick to their belt. There's then a testament to the untapped, violent, frustrated zeitgeist of Britain in 'Isles', their attempt at their own 'A Town Called Malice' or 'Panic!', and whilst nowhere near as endemic as those, it works.

There's then a bit of class warfare in 'Darling Alistair', a sneering contempt of dishonesty and assumedly a reference to the former Chancellor of the Exchequer - the accusatorial lyrics pinpointing a sense of injustice. With 'Tricolour' there's a return to the lighthearted indie-disco vibes that's not altogether noticeable; 'Lost Time' a clear Maximo Park pastiche with that kind of truncated vocal delivery over a pretty standard indie background.

At least 'Dancing Song' lives up to its name with gusto, a no-holds-barred tune aimed at many an underground club with a cheeky (I hate using the word cheeky, I don't know why) self-aware attitude. Sweeps and tongue-twisters are lathered upon us in 'Mathilda', the track fans will have the most difficulty with trying to learn the lyrics to but simultaneously a series of cute tunes and bouncy drumbeats to keep you on your feet in more than one sense. The album closes with 'Intelligent Animals', a sudden lamenting of humanity by referencing Darwin, Darfur and a slightly misanthropic view of the future. It's a bit of a shock to the system, but clever lyricism prevents it from sounding preachy: "It is easy to hold a moral position which is emptied of its political content" delivered in a grainy reporter's voice to really hammer home their message.



It's a bit of a shock ending but it certainly indicates that they're not just a one trick pony. Yes, they've got the indie-dancing pinned to a tee, but there's something of a raconteur about Little Comets, and in particular vocalist Robert Coles. Their breakthrough has been a patient one - coming to Radio 1's attention in 2009 there've been rumours of mismanagement, and I for one hope this doesn't prevent them from brightening up a slightly tawdry and bland indie sonisphere.

Rating: 8/10
Highlights: Joanna, Darling Alistair, Intelligent Animals, Isles, Her Black Eyes
Avoid: Tricolour, Lost Time