The 1922s began life as the Evil Harrisons, releasing their funky EP “In If It Is” in 2007. After a few years of ups-and-downs, originals, Ronan Murphy, Paul Carolan and Nicolas Puyane later reformed with Paul Campbell and Paul Mallon to create a re-branded, 1922s.
The Very Lotust is somehow different to their old material, but still very much the same. Nicolas Puyane made the wise decision to take up the piano, giving the overall sound a constant classier tone throughout. Opener ‘Light in the Belfry’ is a smooth number, with immediate musical-theatre vibes. The track is masterfully constructed, with dominant, retro piano keys contrasting with Ronan Murphy’s cheery vocals. It’s a promising start, with bumps and dips of sound—while velvety strings drip like honey from the end of the track.
‘Louis’ belongs in a black and white movie, accompanying the protagonist as they walk suspiciously into a piano bar. Either that, or it’s a suitable composition for a secondary school orchestra. There’s nothing insanely innovative here, but a different listen all the same to the Irish music we are accustomed to hearing. The big problem with The Very Lotust is its repetitive nature. The sound is monotonous, if you’re not willing to decode the deep textures to the backing instruments. Murphy’s voice isn’t the most excitable you‘ll have heard.
‘Eaton Street Girl’ is a hazy high-pitched track that’s about a minute too long. The harmonising is sloppy, but strangely, only serves to add to the endearing sound. However, the fierce piano outro doesn’t really fit, and seems to be thrown on because it sounded vaguely good as a standalone piece. A heavier start introduces ‘Gander Man’, with more emphasis on the 1922s rock influences. A stomping drum beat and hollow piano hook creates a creepy atmosphere that I’d like to see the band exploring a bit further.
At this point I’m still not sure what the 1922s are about. ‘Cinderella Shoe’ doesn’t help. It sounds like Art Brut on sedatives. Did I just use a drug reference? It was merited here. “I got you, my little Cinderella shoe.” It was over as quick as it had begun, and I’m left wondering if I had just imagined the last minute and 36 seconds. This is just the beginning of some bizarre lyrics scattered throughout the album, read “She’s a cellulite Fanta can.”
‘Maurice Dancing’ takes this upbeat aura but makes it sound a bit fresher, as if the skip-rope beats were laying in the sun a little too long, pulling us out of the melancholic gloom that seems to haunt the majority of the tracks. ‘Ride the Bench’ is one of the better tracks. A beach-bop affair, Murphy’s vocals are strangely tranquilized, even in front of the upbeat instrumentals.
Tracks such as ‘The Second Stair’ and ‘Key West’ transport you to open-mic night at the local jazz club. ‘I Said Match Not Dance’ bar-hops to a 1930s dance hall during a choreographed number. However, it’s still not 100% convincing. The sound is too modern to run on retro, but not modern enough to be truly something innovative.
The Very Lotust is a few tracks too long. If the 1922s could benefit from anything, it’s learning how to edit down their material to include less filler and more of the tracks that make you believe that these guys have a lot more to give. And they do, it’s just not overly-clear here. They haven’t strayed too much from their former formula of hippy-highs meshed with intense lows, but the introduction of piano and strings instrumentals seems to be carrying them in a new and promising direction.