The North London-based alternative duo Blue Violet are cementing their name on the indie scene with the release of their second studio album Faux Animaux. There are influences from St Vincent and Anna Clavi and sounds reminiscent of Slowdive and The XX. Singer Sarah McGrigor and singer/guitarist Sam Gotley have just finished touring with Echobelly around the UK stopping in local venues such as The Crescent on the way.
The sophomore album consists of 11 songs, which mirrors from start to finish the musical journey of the band, blending genres and themes. The duo were part of an Americana band before Blue Violet, Broken Bones Matilda, but, during the pandemic, they rebranded to a more 90s British and French identity; the title of the album alluding to McGrigor’s Parisien roots. Faux Animaux is decisively a move away from their debut album Late Night Calls, which holds onto elements of the Americana sound, and synths permeate every track, with introspective themes at the heart of the album.
'Sweet Success' opens the album with an undeniable energy. The pulsing beat and heavy synth drives this track, painting a picture of how audiences have filled venues for the band over the country. The song is filled with reverberating textures and carries a distinct 80s synth-pop vibe, setting the scene for what’s in store throughout the rest of the dynamic album. It also nods to the French identity the duo is embracing with similar lush synths to L’impératrice and the Pirouettes.
'The Librarian' is definitely a stand out track on the album, dominated by Sam’s rich baritone vocals and focusing on themes such as human nature and human connections. Sarah describes his writing style as “very observational, he likes to sit quietly and watch how people behave and interact”. The track is slow, with mournful haunting tones and is deeply reflective.
In contrast, the dancey high point of the album is 'Boogie Shoes' coming in halfway through and the punchy playful beat alongside long witty lyrics are akin to Wet Leg’s irreverent style. This song is an example of the band's versatility, demonstrating their ability to craft both deeply contemplative, chilling tracks and catchy dance anthems.
A personal favourite of mine on the album is 'Teeth Out', epitomising the duo’s exploration of the irrationality and ironies of human nature. It’s a soft, honest track with folky elements and melancholic lingering lyricism: “I tell you that I need some space, then I cry when I can’t find your face”. Sam and Sarah’s vocals entwine beautifully on this track providing enchanting harmonies, a symbol of their relationship as husband and wife through their music. The song bridges seamlessly the poeticism of the duo’s writing and themes of protest and indignation, as Sarah repeats gently through the song “Ain’t it time we all drew some blood for the cause?”.
The track introduces the next two songs well; 'Barefoot on the Seine' is a noisier protest anthem, with a rocky chorus interspersing the melodic verses, and the closing track 'Faux Animaux', a vulnerable song standing up to betrayal with a personal outcry, “I’m not your fool anymore, faux animaux, fake animal”. The album closes strongly with this one, the rich guitar riffs paired with a solid beat, evoking unwavering determination in this personal battle. Just over halfway through, the song fades to Sam’s delicate vocals over slow piano keys, ending the album with an ethereal finale. This concludes the album, but by no means marks the end of the band's journey.
Faux Animaux is a compelling addition to Blue Violet’s discography, blending passion with introspection in an impressive musical adventure. The band has redefined its sound and I am excited to see how the duo will continue to evolve.
