There is a persistent itch that many bands seem to need to scratch which consists of blending genres and delving deep into an unknown of the direction, this is exactly where Berlin/Bristol based Shoun Shoun lay their hat down.
The experimental rock four-piece bring their debut album Monsters & Heroes to life, encapsulating the sound of Shoun Shoun with an expansion on their staggeringly beautiful debut EP A Hundred Trips. The group draws breath from a variety of genres with a combination of tantalising dream pop, raw gritty garage rock tinged with the razor edge of grunge and pulsing psychedelic moments of beauty, all of which are seductively embellished with lustful post-punk.
Annette Berlin (vocals) has delved into a range of projects and developed a deep understanding of the music that influences her direction. However these projects had to cease in order for this album to take form. Berlin focused on themes of alienation, redemption and the emptiness at the end of the party, the moment the burning wick of the candle is finally extinguished and the room falls into darkness, a feeling that many of us have experienced within these past few years.
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The first listen is an expansive journey into the minds of Shoun Shoun displaying how the four musicians craft thin layers of influence that combine together to produce a resilient base for a triumphant sound that dips and lunges in a multitude of directions. The range on show has no limits for this quartet, take opening track and lead single ‘Did I Play Games’ a spike of atmospheric grungy, garage rock pierces the very start of the album, many would expect something similar to follow however ‘Much Sweeter’ provides a chaotic bouncy punk track strutting right through the heart, encapsulating a lustful scene between two lovers.
Whilst both of these tracks bolster a high octane energy in opposing fashion there are moments of simplistic clarity which provide a whole other level: ‘Stuck’ provides one of these moments, Berlin’s voice is carried with a driving snare and slinky bass line, beating with the discernible presence of post-punk reminiscent of newcomers Dry Cleaning. On the other end, ‘My Daughter’ provides an uplifting moment at the tail of the album with an intoxicating groove that builds slowly, before blossoming into an unapologetic chorus that provides blips of chaos.
This is an album that tilts on the pinpoint of intrigue and innovation, providing mystery in the direction they may take, a new layer is introduced and the sound diverts in an instant to begin the journey again, the only way that can possibly sum up this album. It dips its toes into a variety of pools which could very well provide the perfect breeding ground for a new immense sound.