The Umbrellas - The Umbrellas

Gelegentlich leicht schräger Boy-Girl-Gesang zu schrammeligem Jangle-Pop, der versucht so zu klingen wie Bands aus den 80ern, die den Sound der 60er nachzustellen probierten, aufgenommen im DIY-Verfahren jenseits eines professionellen Studios. 

Das ist der Sound von Morgan Stanley (Gesang, Gitarre), Matt Ferrara (Gesang, Gitarre, Keyboards), Nick Oka (Bass) und Keith Frerichs (Schlagzeug, Gitarre) aus San Francisco, die sich gemeinsam The Umbrellas nennen.

Und dafür erhielt das Quartett für sein Debütalbum einen Plattenvertrag bei Slumberland Records, dem Zuhause von Veronica Falls, Peel Dream Magazine, The Proper Ornaments, The Pains of Being Pure At Heart oder auch The Reds, Pinks and Purples.

„The Umbrellas“ ist Fans von The Pastels, Comet Gain, Talulah Gosh, Belle & Sebastian und The Field Mice zu empfehlen und kam Anfang August als CD und LP heraus, die erste Pressung der Schallplatte als coke bottle green Vinyl.

 

Ferrara’s keyboards in opener “Lonely” make an immediate positive impression, lending a welcome neo-’60s touch, but the sheer energy of the tune, strings jangling with abandon, is downright indie pop infectious. Plus, the non-apartment recording scenario secures a large payoff through the ethereality of Stanley’s backing vocal. A stinging, soaring guitar solo on the back end lends further panache.

With “Near You,” Stanley takes the lead for a short sharp slice of indie pop that brings Amelia Fletcher to mind. Good thoughts. And the studio setting figures prominently here as well, as Stanley’s multi-tracked backing vocals really accentuate the comparison. But the Ferrara-sung “Autumn” reasserts the ’60s influence with authority; the bio mentions the Paisley Underground (there’s definitely a neo-psych flavor), but to my ear the guitars hang on the fringes of shoegaze. (…)

This may not read as a huge achievement, but bands getting this sound right this deep into century 21 is something of a rarity (as many continue to try). This skill is further exemplified during “She Buys Herself Flowers” and “Galine” (both Stanley-sung), but the shared-vocal acoustic strummer “It’s True” showcases range, and with a bit of melodica as the capper. Overall, “It’s True” sounds a little like an acoustic demo cut by The Vaselines as a birthday present for Alan McGee.

(The Vinyl District)

 

The songs on the Umbrellas’ self-titled debut provide a pleasing antidote to the difficult times of the past year. The album sounds like a greatest hits collection, with echoes of classic California pop sprinkled throughout the record. (…)

Every track on The Umbrellas shimmers with pure pop energy. Luminous chords from Ferrara’s organ and bright acoustic guitar fill open “Lonely,” a mid-tempo love song that’s balanced between hope and regret. Ferrara’s tender vocal wonders if the affair is over, while Stanley sings a countermelody, suggesting his lost love still pines for him. “Autumn” is a slow, funky number comparing the fading of summer’s light to the end of a relationship. Frerichs supplies iridescent 12-string guitar fills to intensify Ferrara’s vocals. Stanley sings a playful lead on “Galine,” a rocker driven along by Frerichs’ galloping backbeat and a melody that echoes the radio hits of the ’60s. It paints the portrait of an ultra-chic woman enjoying her time in the spotlight. Twang-heavy electric guitar-fills dance around Stanley’s vocals on “A.M.,” an aching ballad full of understated sorrow. The album’s tales of desolation are balanced by upbeat melodies, and the harmonies supplied by Stanley and Ferrara.

(EBX)