Releasing your debut during a global pandemic is guaranteed to do strange things to a band. Separated by military checkpoints and unable to tour, 2020’s ‘The True Story of Bananagun’ was fated to be enjoyed in bedrooms rather than live in clubs. Despite being a welcome dose of psyched-out sunshine during uneasy times, the band’s momentum was understandably derailed, going some way to explaining why 2024 sees the band’s follow-up finally land. Luckily, the group’s infectious energy remains – just a little stranger.
Once again leaning into 1960s esoterica as a starting point, ‘Why Is The Colour Of The Sky’ has Bananagun embrace jazz, afrobeat, and zamrock to land on a more frantic and restless sound. Recorded with minimal takes and on vintage analogue gear, the record’s organic atmosphere becomes evident with the opening groove of ‘Brave Child of a New World.’ Gritty drums and faded guitars fight for room over flute bursts and harmonised vocals. It’s a live cacophony of melody, and all the better for it. A refreshingly raw sound in an age of sanitised production.
The album is at its best when it’s freewheeling. It is during specific sung passages, notably on ‘Those Who Came Before,’ that the Pink Floyd channelling becomes a little stock. A regrettable move when contrasted with the brilliantly twitchy ending jam. The following ‘Feeding The Moon’ suffers no such acid generation worship, the group locked in for three and half minutes of stoned-out glory. Later, The hazy pop of ‘With the Night’ sees frontman Nick van Bakel do a far better job paying homage to a bygone era of songwriting.
Evocative of The Beach Boys’ sublime ‘Surf’s Up’ LP, the song’s dreamy edges gradually melt away, replaced with a barrage of sounds and textures that’d no doubt make Brian Wilson smile. It is a testament to Bakel’s ability and passion to create a record that sounds as if it were recorded five decades ago. Put on a turntable with no prior knowledge, and you’d be forgiven for believing Bananagun were some long-forgotten dropouts who played the college circuit till ‘71.
Therein lies this sophomore effort’s pros and cons. At its worst, the album comes across as a gorgeously free-range psych-pop record, but one without anything new to say. It’s one thing to take the blueprint of classic psychedelia and run with it, but a carbon copy, though enjoyable, will always remain less memorable. At its best – namely ‘Children Of The Man,’ ‘Feeding The Moon’ – ‘Why is the Colour of the Sky’ borders on being a fusion record, with African rhythms, jazzy interludes, and biting guitar combining to make something less commonly heard.
At nine tracks, some short, Bananagun’s return is always enjoyable but never quite stellar. Bakel’s ability to conjure a thrilling live sound and tangible atmosphere deserves plaudits – let’s just hope that next time around, there’s a little more structure and a sound they can call 100% their own.
7/10
Words: Sam Walker-Smart
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