George Morris and his Gypsy Chorus have come together to craft a masterful blend of indie pop and glam rock in the band’s third record which simply entitled George Morris due out February 10th. The self-titled LP is filled to the brim with catchy synth hooks, groovy bass lines, and unique melodies all of which encapsulate its melancholy lyrics and subject matter in a veil of optimism. George Morris has stricken gold by finding the perfect balance between moody indie music and familiar yet refined pop sensibilities, and this is in large part due to his extremely distinct voice. While the music itself is interesting and well produced enough to stand on its own, the entire album seems to effortlessly come together around Morris’ vocals in the best way possible. This gives the entire record a feel of authenticity that makes it sound unlike anything I’ve ever heard.
For those of you who may not be familiar with George Morris, he is the former off-the-wall lead singer of The Satin Peaches who rose to decent fame back in 2010 after their notable Lollapolooza performance. After the band dissolved due to creative differences (a term which can actually be applied to this breakup), Morris took all of his songwriting talent and experience and put them to good use in his solo project.
- 00 Years
- Full of Stars
- One & Only
- Round World
- No Feelings Left
- All My Money
- Still Waiting
Two records and nearly five years later we have been graced with his self-titled LP, and it showcases Morris at quite possibly his best songwriting game of all time. With the lead single “100 Years” receiving critical and fan praise while drawing comparisons to the likes of The Beatles, David Bowie, and St. Vincent (just to name a few) I can say with confidence that the rest of the album lives up to or even surpasses the bar that this single has set.
The record opens up with “100 Years” and listeners are instantly greeted with solid backbeats and rhythms underneath a terse yet welcoming piano. Listeners are soon met with Morris’s wistful vocals which emotionally convey the first lines of the album, “All of my friends are dead. It could’ve been me instead”. Boasting a very Radiohead-esque vibe through its music and vocals, “100 Years” is a perfect track to open the album with as it perfectly sums up almost every aspect of Morris’s music into an infectious and succinct track that sets the tone for the rest of the record.
The second song and second single off the album “Full of Stars” takes Morris’s hauntingly enticing vocals and mixes them with his signature synth sounds and groovy yet driving bass riffs. A David Bowie inspired track if I have ever heard one, “Full of Stars” features some huge soundscapes that you can easily get lost in without having realized that an entire 5 minute song has just come and gone.
Track number 3, and my personal favorite, “One & Only” is probably the most ‘pop’ sounding track off the record. Its synth hook, which is very retro and video game inspired, is light and infectious while the vocals, although incredibly catchy, add a certain edginess to the song which keep it from teetering over to the side of too cheesy. Complex percussion tracks, guitar solos, and dark romance all make an appearance on this track, and the more you dig, the more you’ll find.
I won’t go into detail about the rest of the tracks, but they are honestly all just as good, if not better than the three I have mentioned. No detail has been overlooked, and each note on every track has been played to perfection. The production value on this album is absolutely incredible as well. No matter how many times I may have listened to a song, I found myself grabbing onto new and interesting things that I had never noticed before. There truly is a fine art to mixing and producing and I feel as if no expense was spared to make this album sound just as good as the quality of the songs themselves.
This album is good, plain and simple. It brings together ideas from a wide range of rock and combines them into something that isn’t groundbreaking, but rather familiar and welcoming in the most interesting kind of ways. The only complaint that I could think of is that the tracks may have been a tad too long for their own good, but that is me nitpicking. This self-titled LP features some of the most phenomenal song writing, instrumentation and production on an indie record that I can remember hearing in a good long time, and you should definitely listen.
For more on George Morris or the self-titled album, check out the links provided below!
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