Pedalling 90s grunge but spat out for a 21st century audience, INHEAVEN seem to have been gracing ‘ones to watch’ lists for the last few years without any significant release to back it up. The time has now come then for the London band to move beyond their ‘hype’ description. They have managed to do this to a certain extent, in what is an enjoyable listen.

Formed by frontman/guitarist James Taylor and bassists/singer Chloe Little, the pair were later joined by the rhythm section and soon had a lucky break in 2015 when their demos were discovered by The Strokes frontman Julian Casablancas at Cult Records. The label soon released their first single ‘Regeneration’ in the States later that year. The four-piece have since perfected their 90s-infused sound with a multitude of singles, festival appearances as well as headline tours.

Whilst there is the obvious My Bloody Valentine and The Jesus & Mary Chain shoegaze influences here, they also demonstrate an ability to switch from aggressive rock and euphoric dream-pop on the spot. This makes the album inconsistent but, at the same time, exciting in equal measure.

Produced by Tom Dalgety (Royal Blood, Pixies, The Maccabees) and recorded at Rockfield Studios in Wales, their debut is the sound of a band that will soundtrack the summer of angry teenagers across the UK. The life-affirming energy of their music combined with their individualistic ethos combines remarkably well to suit that specific demographic.

Although the album ranges from the grungy to the dreamy, the punky ‘Baby’s Alright’ instead kicks off proceedings with a prominent bassline and rousing melody that evokes the likes of The Ramones. Former single ‘Treats’ soon follows and is the most ballsy track on the album with its bold Nirvana-esque guitar riffs and tough female voice: “I want someone to treat me right,” screams Little.

Things are then taken down a notch for ‘Stupid Things’ which has a cinematic deposition to it. ‘Vultures’, meanwhile, is a far more temperamental creature that references the information age and media consumption, before ‘All There Is’ signals a change in tone for what is a more mellow arrangement. ‘World On Fire’ then displays the punk credentials with its militaristic rhythmic core.

This propulsive framework is also the case for old favourite ‘Bitter Town’, which screams 1980s with its built up, epic Suede-like chorus about suburban angst. Meanwhile, the aforementioned ‘Regeneration’ features another festival-ready hook and chorus in what is an untamed blast of rock‘n’roll. This is before the chilled out ‘Velvet’ beckons a sedative end to the record.

INHEAVEN‘s debut won’t change the world but it’s a good record that takes elements from a variety of genres and turns them into something substantial and meaningful, under the backdrop of catchy melodies and pop structures.

Paul Hill

Website: inheaven.co
Facebook: facebook.com/inheavenband
Twitter: twitter.com/inheaven