Brighton’s own Theo Verney returns to the fold with his debut album One Small Piece, released via Cannibal Hymns which also acts as a home to the likes of Our Girl, Dream Wife and Newcastle’s Eat Fast. The album, says Verney, has been a long time in the process, at times a challenging recording and an album that musically feels matured, and carved with every ounce of care and thought.

Speaking about the album’s title, Verney says: “The name also reflects a new appreciation for the larger picture where a single album and single person means very little in the grand scheme of things” – this slightly fatalistic dwarfing of himself appears to keep the Brightonian grounded. This modesty is refreshing to cling to, and something that musically allows him to shine, removed from any hindrance of ego. Not that an ego would hinder an album of this quality.

Musically, the album is a joyous affair, ticking off glimmers of Beach Boys sugarcoating with the warming ‘Mind Fire’ and at others, such as with second track ‘Stand In’, leaving sumptuous duvets of psychedelia to cling to, something akin to Morgan Delt.

The album shows richness and diversity across individual tracks and as a full eight-track piece. Signatures and tones fluctuate and vary throughout opener ‘Running Backwards’, batting away any notion that this album wasn’t etched to what Verney saw as perfection. It lulls through whimsical Dark Side Of The Moon’s heady segments before catapulting into Mac DeMarco jangle-pop. Verney sidesteps the norm and the predictable with ease, effortlessly placing original melodies side-by-side with what should be contrasting ideas. ’Enter The Daylight’ continues the wistful flow of relaxation, touching upon the psych-folk cornerstones of The Byrds and Crosby, Stills, Nash & Young. The song is packed with subtle string bends and a dense knowledge of guitar effects, proving Verney is as much of a guitarist as he is a sterling songwriter.

The album’s single, ‘Letter Down’ finds Verney’s sound transcending once more, moving towards bolder guitar riffs that are cut with more assertiveness. ‘Cotton and White’ follows a similar avenue, once again demonstrating Verney’s willingness to push his musical boundaries, ditching the psych-rock for something slightly more poignant and focused. ‘Driven East’ is a melancholic track of reflection which sits pondering, almost as if Theo Verney is rearing his neck and casting back at what he has produced in the run-up to now. It collapses into kaleidoscopic verses, introducing fragments of keys and guitar, the ballad that runs underneath adds another genre idiosyncrasy to One Small Piece. It’s impossible to ignore the Queen undertones, from the hair raising glam-rock guitar through to the climatic rhythm sections.

One Small Piece is a true testament to a fantastic songwriting pedigree. Verney travels through music’s history, ticking off all the big names – comparisons are there and noticeable but never once obvious. Instead, what Verney does is twist opposing artists into each other, adding his own unique voice and slightly juxtaposing slacker style. It’s a truly brilliant album, full of diversity and richness – as if it was a multi-fruit carton of juice, it brings every vitamin to the glass, and it's so bloody nice to drink.
Tom Churchill

Website: theo-verney.bandcamp.com
Facebook: facebook.com/theoverneyy
Twitter: twitter.com/TheoVerney1