Having made a name in their hometown of Stoke supporting the likes of Peace and Palma Violets, it’s likely that you will already be familiar with Delamere. With that in mind, you may well have been part of the growing fanbase waiting with bated breath for the release of an album.
Though the wait’s been a fairly long one, there’s a sense that the release of the band’s self-titled debut was meticulously calculated. Aside from the inevitable buzz built up from anticipation, it’s difficult to imagine an album fitting a time quite so perfectly. Quite simply, Delamere encapsulates summer; awash with shimmering guitars and sunny vocals it’s the ideal soundtrack to remind us that summer is still happening.
I imagine that it’s hard as a band who’ve already begun to build a buzz: releasing an album can ultimately go one of two ways, but, as they suggested in the album’s lead single Delamere are out to kill it.
They seem to have hit the nail on the head with this one: essentially the sound is Delamere, but not predictably so. ‘Kill It’ and ‘Black & White Space’ (previously released by Line of Best Fit) blend seamlessly into an album of anthemic indie bangers, the latter the prime example of just how sunshiney Delamere is. Elsewhere on the album ‘Regress’ sees the band take on Charlatans vibes, while ‘Woods’ slows it down; a welcome break in a predominantly upbeat record, it’s here that vocalist James Fitchford’s talent becomes even more evident.
That’s not to say it’s not noticeable throughout, however, and while it’s tempting to compare Fitchford’s vocals to those of Dan Smith (Bastille) it seems wrong to place them in the same category: Delamere are significantly cooler.
Finishing on ‘Rain’ (out of place in name but certainly not in sound), Delamere join – and jump right to the top – of a plethora of bands bursting out the indie scene at the moment.