Holiday Ghosts – ‘Coat of Arms’ album review: fun indie pop with a sharp political edge
THE SKINNY: If you miss the jangly indie pop bands that emerged in the United Kingdom during the early 1980s, fear not. Holiday Ghosts’ new album, Coat of Arms, harks back to the days of anorak-wearing twee groups. These acts were inherently political, and Holiday Ghosts, who hail from the sunny South coast of England, carry this social consciousness with them, infusing their poppy guitar tunes with potent meditations on consumerism, identity and displacement.
Yet, Holiday Ghosts aren’t mere wannabes, simply playing songs that sound like they belong to an era that has long passed. Rather, the band blend various other influences into their sound, such as punk and garage rock, alongside more recent indie and post-punk acts. The result is an album that feels like a modern take on ‘80s indie pop, with potent lyrical content at the core of the record.
The band have released four albums already, with the first, Holiday Ghosts, coming in 2017. They seemingly haven’t slowed down since, and Coat of Arms reflects this constant drive. It’s bursting with energy, utilising frenetic guitars and fun hooks, drawing us into a world that sounds like the sonic embodiment of friendship. Whether that be through sun-drenched guitars or shared vocals courtesy of Katja Rackin and Sam Stacpoole, the album feels communal and sweet. However, it is not afraid to dig into more confronting and pressing lyrical content.
The album is rich with complexity, inviting us to move our feet as much as it invites us to pay attention to what the band have to say. Neither lyrics nor instrumentals are sacrificed in favour of the other here – this is a record that achieves exactly what it sets out to do, and it does it well.
Perhaps there is a slight lack of variety at times, although some may argue that the record is simply cohesive and compact. With song lengths averaging two-and-a-half to three minutes long, these are pieces that are straight to the point and accessible, giving the record a distinctive appeal that is easy to dive into. The record isn’t exactly groundbreaking, but Coat of Arms will likely charm you.
For fans of: Dancing with just your shoulders at a gig, hanging out with friends on the beach as the sun sets.
A concluding comment from my boyfriend: “This album is kinda like using someone else’s bath water. It contains a few surprises, but ultimately, it’s quite tepid.”
Coat of Arms track-by-track:
Release Date: March 29th | Producer: Phil Booth and Sam Stacpoole | Label: FatCat Records
‘Western Daylight’: A steady opener which really benefits from a saxophone that emerges from the garage rock-esque guitars, adding some extra texture to create a captivating sound. [3/5]
‘Big Congratulations’: Rackin and Stacpoole often sing in harmony here, musing on the way we often fill the void or search for meaning in material objects. The “tell me more” refrain is addictive, and the guitars are perky and fun. [4/5]
‘Dead Streets’: You can imagine yourself walking down the pavement as this one played, something I thought about before even realising the name of the song. Clearly, the band is able to make instrumentation that fits perfectly with their lyrics. [3/5]
‘Energy’: This one is a little rougher and heavier, guitar-wise, although it still insists you dance. [3.5/5]
‘Sublime Disconnect’: Rackin asks, “Will I find peace when I belong?” on this fast-paced number, which is one of the album’s most lyrically poignant tracks. Here, she explores cultural identity and the struggle to find a sense of belonging. [4/5]
‘Coat of Arms’: It is always delightful to hear Rackin’s feminine vocals and Stacpoole’s masculine tone bouncing off one another as they sing with each other. [3.5/5]
‘Tired Eyes’: The electric guitar has a slight twang to it here, which plays over a much more consistent and rhythmic acoustic guitar. It’s simple, but it sounds really great. [3.5/5]
‘Today’s Headlines’: Very catchy and memorable, with Rackin delivering simple yet powerful statements like “we kill for money and die for love.” [4/5]
‘I’m Still Here’: Holiday Ghosts show more of their garage rock and lo-fi influence on this song, allowing their guitars to sound a little scuzzy, leaving the band to almost shout over them. [3/5]
‘Shoot For Peace’: Synths take a prominent role here for the first time on the album, which works really well with the band’s nostalgic sound. [3/5]
‘Skin and Bones’: Why is this a bonus track?! It’s arguably one of the album’s most enjoyable songs. [4/5]
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