The four members of Django Django met at Edinburgh College of Art, and founded the band based in London in 2009. Their self-titled debut album, released in 2012, became a surprise seller reaching number 33 in the UK, partly off the back of coverage in FIFA and GTA, as well as a Mercury nomination. It went on to reach Gold sales across Europe, and Platinum in France, who appreciate a cool-as-fuck arthouse band like few other nations.
Introduction is an impressionist wonder of swirling guitars, that flows beautifully into Hail Bop. This track has an obscenely great riff, that builds alongside an effects-laden voice. It peaks with a swaying euphoria of a chant that will get stuck in your head. Default takes things up a notch, with a scattergun approach of sounds that come together in a triumph of a piece of music. The guitar just cuts through with an insistent bludgeoning of the mid-range. Firewater is a track that could be straight off Gomez's Liquid Skin, with its multi-instrumental and layered approach, and a lively acoustic guitar at its heart. Vincent Neff's voice is wonderfully detached, looking down on the maelstrom of sounds below, and knitting them together. Waveforms has a more conventional structure, but works well within that, sounding like something straight off Alt-J's debut. Zumm Zumm is an effects-laden fog, although it lacks the focus of some of the album's stronger tracks. Hand of Man is a slower, more stripped back number, with acoustic guitars front and centre, and Dave Maclean (brother of the Beta Band's John Maclean) keeping things ticking along on drums. There are also some handclaps, which I assume are a deliberate nod to the song title. Love's Dart has some of the strongest lyrics on the album, "Love's Dart/ No longer sharp/ Your end is in sight/ But your aim takes you wide of the mark" and a crackling effect that draws the listener in. WOR is ridiculously catchy, with its Wild West style sound effects on the wordless chorus, and an ever-shifting set of instruments that never seem to lose the driving rhythm or soaring melody of this song. Storm has an inhale-exhale feel due to the hi-hat, that cannot but get your foot tapping. Life's a Beach is an enjoyable song, if slightly tinny, but Skies Over Cairo is something of a blemish on this otherwise outstanding album. Playing pseudo Egyptian music without much direction may seem like a good idea if you're not expecting many people to hear the album, but it's a bit embarrassing in this context. Silver Rays sees the album out on a much better note, with some lovely squelchy synths.
As a complete album, it is a wonderfully quirky, arty and varied work; the array of instruments and tempos alone makes it impressive. What really strikes me, however, is the catchiness and quality of the song writing, with a real confidence and maturity apparent throughout. There are some incredible moments which make you stop what you're doing and just nod in appreciation. I think this is better than Alt-J's debut, which is high praise, as the songs grab your attention rather than settling into the background. This is definitely an album I will be returning to again and again, and am frankly gutted that I didn't pick it up first time round.
Chloe's album rating: 8
Chloe's favourite track: 5. Waveforms
Olly's album rating: 9
Olly's favourite track: 3. Default
Next week is the seminal 112. Electric Ladyland by The Jimi Hendrix Experience.
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