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Everyone had that phase in their teenage years where they decided they were cool, moody and wanted to be Avril Lavigne or Green Day with the black eyeliner and heavy fringes. Although The Big Moon aren’t perhaps quite heavy fringe people (as that definitely is not ‘cool’ anymore), they are undoubtedly one of those bands that many teenagers are going to go through their rock conversion stage with.

Love in the 4th Dimension has been long-awaited, as the band has steadily over the past two years released ever-increasingly popular singles. But now it is here: their debut album. The female quartet have burst into full bloom pop-rock with the classic rollercoaster loops from quiet to loud (which is the foundation for most of their songs) and waves of emotions. The album oozes angst, there are a few hints of euphoria which they say they were aiming for, but it mainly screams teenage torment. Many songs take me back to days in my bedroom as a fourteen-year-old getting angry about some boy, discovering angsty bands and turning them up full blast.

The album begins with their 2015 single ‘Sucker’, a guaranteed crowd-pleaser to hook in the fans and show them they were not going to abandon any of the previous singles. In fact, quite a few of the songs on the album were previously released as singles. So, I guess the album wasn’t as risky as it could have been, seeing as they already knew people like those songs. Nonetheless, ‘Pull the Other One’, the second song, symbolises the stereotypical ‘I don’t care’ vibe, which all pop-rock albums must contain. With the trick in the change of tempo in the bridge, we are shown the group’s ability to convey ‘mischievousness’.

The album begins with their 2015 single ‘Sucker’, a guaranteed crowd-pleaser

The next new addition, following the previously popular two, ‘Cupid’ and ‘Formidable’, is ‘Bonfire’. This track begins with a heavy guitar which quickly diminishes as the slightly sexual lyrics come in to action. With words such as “show me how your fingers, got in all those pies”, to making her cry, and inviting the guy to “come inside, your mine”, combined with the cat-like howls; it is quite something. Maybe I am hearing it wrong and they just want to cry whilst making pies in her house? The chorus also sounds very similar to Hayley Williams at times. So if you loved Paramore, well, you will love this song.

‘The Road’ is a lot slower in pace, and is perhaps one of the less pop-rock-esque of the collection, despite the classic “oohs” to emphasise the emotion she is clearly feeling. ‘Happy New Year’ additionally is slower; with lead singer Juliette Jackson stating how she doesn’t remember New Year’s, which many of us (particularly myself last New Year’s) can relate to due to alcohol. However, a depressing tone underlies this often youthful joke, as she sings “I’m never going to be this young and everything I love one day will just be loved”. We don’t need reminding that we are getting old. Thanks for that.

The rest of the album decelerates after ‘Silent Movie Susie’, with songs such as ‘Zeds’ depicting the heaviness of loving someone you are not with through the thick melody, and ‘The End’ nihilistically painting falling in love. Overall, despite many declarations that this album represents the ‘Golden Age’ of indie music, it is nothing that hasn’t been seen before. Maybe there is a big hype about it due to the rarity of an all-girl rock band? Who knows, but if you like pop-rock, or you love Hayley Williams, this album is yours to relish.

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