‘So Long, See You Tomorrow’, is the fourth record from London indie rockers Bombay Bicycle Club. The record demonstrates how the bands sound has matured over the past years, since the release of their first album ‘I Had The Blues But I Shook Them Loose’ which featured a very raw lo-fi, indie rock vibe.
The band makes use of many different samples in the new record, inspired by their tour of India last year, which was stated by Jack himself. I feel the band always manages to produce a refreshing sound with each of their record releases, and the mix of guitar music, synth, strange Indian samples and Jack’s very distinctive vocal makes a very unique and danceable record!
‘Overdone’ is a nice little introduction to the record with the hip hop style drum beats and samples, I could easily liken this track to that of post-party chill out artist Bonobo, if it wasn’t for Jack’s vocal. It seems the band have no trouble seaming together sounds from the dance, hip hop and electronic genre.
‘Whenever, Whenever,’ sparks the half way point of the album, almost reminiscent of ‘Still’ from the bands previous album as the track is introduced by some lovely quaint piano chords and vocals from Jack, before bursting into a refreshing upbeat tempo making use of a new kind of drum sample and synth not yet heard on a BBC track, giving it an almost 90’s pop/dance feel. Mixed with Jack’s typical vocal style and guitar lines from Jamie and Ed the track builds up to an anthemic chorus towards the end, before returning to Jack on the piano to end the track nicely.
‘Luna’ being one of the bands singles released prior to the album, shows how the band are capable of adding a refreshing sound to their new song’s without completely changing their style so radically that you can’t tell it’s them. Regardless of the track being the shortest song on the album I personally believe it is one of the most powerful, and danceable, with Jack’s vocals being accompanied by the new talented singer Rae Morris, which was a real nice little surprise to hear, being so used to hearing Lucy Rose on many BBC tracks.
‘Come To’ has a nice Britpop-eisc feel with the generic slurred guitar and bass lines, introducing the track. Before bursting into the verse with some nice crisp whistling synth samples making appearances in places. I can’t help but feel this track has been influenced by some of the sounds of the 90’s being arguably one of the most popular decades in British rock and pop music. The outro of the song has a very similar feel to the The Verve’s ‘Bitter Sweet Sympathy’ .
The ending for ‘So Long, See You Tomorrow’ seems to be a subtle pointer into what sort of direction the band might be taking with their next release, with the ending of the track ramping up to a faster tempo, which seems to be a reoccurring characteristic of the album, also adding house style modulated vocals. Could we see a even more electronic/house record from the band with their next record? Only time will tell.
Written by Tom Barr