Spinning out of Peckham off the back of their two recent singles, ‘Peckham Boys’ and ‘1945’ are London’s answer to American country spruced garage-rock. Tangerines pave the way for a whole new British intellect on summer tinted rock’n’roll, obsessing with the sunshine rather than darkness and tugging on a lighter mindset fuelled with feel-good mentalities.

Prior to the album being released, the group enlightened us to their sound with the likes of ‘You Look Like Something I Killed’ and ‘Long Way Down’. The former particularly caught attention prior to last year’s Great Escape, a star-spangled ode that dances between the likes of Television and The Strange Boys whilst being catchier than the common cold. ‘Long Way Down’ follows a similar suit, thriving off loose guitar riffs, a disco fuelled rhythm section and breaks into muffled horn sections.

Tangerines begin to establish themselves at this point through their lighthearted style, there’s something about their music that feels exceptionally refreshing at a time of such stagnant seriousness. Ultimately, it sounds like a debut, relaxed, approachable and an ode to youth. The almost rockabilly blues of ‘Lover’s Night’ provide the genre with a contemporary facelift, a style of music shunned for so long in the murky shadows of Republican America with its checked shirts and awful barn dances. Tangerines though have finally in 2017 turned it into something new, dressing a sometimes despondent genre in a new pair of stonewashed 501s.

There’s careful control that outlines much of Into The Flophouse, from the Richard Hell surf-guitar through to the husk of frontman Gareth Hoskins, it’s this order that prevents the music from spiraling into oceans of clutter. ‘Marlene’ shimmies through bridges awash with keys and guitar whilst always keeping steady feet. ‘Keep On Racing’ finds a previously-unseen drive but never clips the curb. The album opener and recent single ‘Peckham Boys’ keeps a consistent coordination as Hoskins muses about the local Peckham clientele all the while keeping his Lou Reed-esque narrative. ‘Glam Glam’ pulls slightly on different comparisons, feeling closer to The Beach Boys at times with occasional harmonies, importantly this adds a little diversity away from the generally rock’n’roll track list.

The group have always worked within a world dictated by spontaneity and chance encounter. Following the formation of the group, initially by Hoskins and childhood friend-turned-drummer, Isaac Robson, members were recruited through luck. For example, guitarist Miles Prestia only joined the line-up following a meeting at 4am on Brixton High Street. This lack of coordination ripples throughout their sound, it’s slack and carefree, but carries charm and that ultimately is the vital ingredient. It’s got an a feel of genuine lo-fidelity in the recording that gives it an honest and strong identity. Walking between similarities – Iggy Pop, The Modern Lovers and Exile On Main St-era Stones, it’s the chemistry behind the music and the wit within Hoskins lyricism that make Into The Flophouse such a marvelous debut.

Tangerines have certainly made their opening statement with Into The Flophouse, it’s an album of wrought intent and whilst its need for variation may occasionally struggle, we can only assume these are growing pains sure to be stretched out by the next long player. Where Tangerines really find success with this album is with its complete cry to optimism and the future. It refuses to dwell upon the past and misfortune but instead feels much closer to a bright future. It’s refreshing to have music that doesn’t insist on taking itself so seriously all the time.
Tom Churchill

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