On ‘Dark Blue’, the opening track from caroline’s self-titled debut, cellist/vocalist Jasper Llewelyn chants a simple refrain: ‘I want it all’. It’s a missive that could be mistaken for arrogant, but instead comes off as cautiously optimistic, as he and his seven bandmates build a richly textured soundscape that evokes more than lyrics alone ever could.
Taking inspiration from avant garde classical music as well as Appalachian folk and post-rock, to name a few, the group—comprising Mike O’Malley (guitar, vocals), Casper Hughes (guitar, vocals), Freddy Wordsworth (trumpet, bass), Oliver Hamilton (violin), Magdalena McLean (violin), Alex Mckenzie (clarinet/flute) and Hugh Aynsley (percussion)—have developed a sound all their own, as beautiful as it is unsettling. ‘Good Morning (red)’ epitomises that feeling, a soaring romantic string section giving way to a disjointed, yet still charming cacophony. "Could I be happy, in this world?" Hughes asks, summing up the band’s position throughout the album—stuck somewhere between awestruck and anxious.
As a whole, the album seems to rally against the instant gratification which is a main feature in so much contemporary music—this was definitely not made with TikTok in mind. Instead, it encourages stillness and contemplation, rewarding deep listening with rhythmic undercurrents that lure you into a meditative state.
The tracks on caroline are the product of years of improvisation and gentle tweaking, and anyone who has seen them live will recognise aspects of them. The versions captured on this record, expertly aided in the final mix by John ‘Spud’ Murphy of Lankum (who also produced much of black midi’s 'Cavalcade'), are a snapshot in time, and a gorgeous one at that, but they will no doubt continue to evolve, much like the band themselves.
7/10
Words: Jessica Wrigglesworth
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