Croydon-based quartet Bellevue Days were (and still are) an incredibly exciting indie-pop act to have come out of London in recent years. Their last EP ‘Sad Boy’ was released to critical acclaim and it seemed almost impossible to think that the band would be able to create another piece of material to top it.
However, the rose-tinted, backwards glance that comes in the form of ‘Rosehill’ may just be able to do just that. Opener ‘Black Sheep Baby’ features Alan Smith’s trademark vocals; strong and soaring in some parts but soft and tender in others, it creates a whimsical atmosphere, while ‘Faith’ is full of fuzzy, distorted guitar work, layered atop of harmonic vocals and clever drum work.
The writing skills of Bellevue Days are truly astounding and it’s what makes them just as well-versed as their older contemporaries. Relatable and personal, this young band are brilliant at taking a wry look back at life, as well as singing about matters close to the heart. “How can you understand me if I can’t understand myself?” Alan whispers during ‘Secret Love’, a swell of heart-breaking emotion crashes during this track, one that sees the band wearing their heart on their sleeve as riffs simply transcend over a plethora of melodic hooks. It’s both beautiful and devastating, but it’s what Bellevue Days excel at – creating music that makes you both smile with utter joy whilst fighting back tears as the lyrical content hits home.
They continue this theme with ‘Jack and I’ – lyrics of “I’ll just blame myself for everything / and get drunk whether or not we lay in the park / and pretend everything’s okay” are intense, rousing, and transport listeners back to their teen years. It’s nostalgic and, true to the EP name, is like looking through rose-tinted glasses.
‘Dead Summer’ ends the EP on a desperate, pleading note – the vocals are nearly at breaking point, the guitar work slower and sadder. Despite that, it ends another fantastic piece of work from Bellevue Days. It seems impossible that each EP is as good as their last, yet that’s what they manage. This time, it’s in the form of a wistful and nostalgic release, one that’s perfect for quiet summer nights.
JESS TAGLIANI