Lazy Day – ‘Open the Door’ album review: an authentic slice of autumnal indie
THE SKINNY: Sometimes, we get so caught up in the contemporary era’s penchant for daring experimentation that we forget that songwriting in its purest form can still be extremely effective. This is a point that’s affirmed with Open the Door, the long-awaited debut from Tilly Scantlebury’s project, Lazy Day. It’s a substantial slice of exquisite modern indie that both warms the cockles and makes you head for the box of tissues.
While Scantlebury has been one of London’s finest up-and-coming songwriters for a few years now, the Lazy Day debut not only shows their proficiency as an artist, in songwriting, lyrical themes and execution, but demonstrates why they are seemingly destined for bigger things. Whether it be the sincerity or remarkable propensity to craft simple but potent hooks, Scantlebury has everything required to come to much greater prominence in the future.
Open the Door is pure songwriting at its best. Not only is it authentic, extracted from deep within the Lazy Day leader, but it’s got that universal pull based on such lyrical honesty as well as the quality of the music, with no end of slick basslines, hooky riffs, and the expert use of electronic textures comprising a record that holds your attention until the final notes ring out.
While, broadly speaking, some songs might blend into the one, because of their thematic and compositional similarities, Open the Door is a great record, and perfect for this time of year, as the spirits shift in tandem with the leaves turning brown. It isn’t morose or melancholy, just sweetly soothing, cleverly written and brilliantly performed.
For fans of: Turtle neck sweaters, The Holiday and smoking areas in winter.
A concluding comment from a South London music fiend: “Oh my god, ja, I love Lazy Day. Remember their early stuff? I saw them at the George Tavern before it was cool!”
Open the Door track by track:
Release Date: November 8th | Producer: Tilly Scantlebury/Gethin Pearson | Label: Brace Yourself Records
‘Killer’: An immediately captivating opener. Featuring a warm bassline, shuffling drums, and Scantlebury’s expressive delivery, this autumnal track is a perfect way to kick off Open the Door. It contains the first of many earworm choruses in store. [4/5]
‘Getting Good’: Wasting no time in getting into it, another animated bassline underpins this one, as Scantlebury conjures more contagious melodies, another impressive vocal performance, and a generally warming sonic palette to sate the leaves turning brown. The middle section is immensely satisfying, too. [4/5]
‘Squirm’: One of the finest cuts on the record, for sure. A big fan of the rhythm, the attitude-laden bassline consisting of slides down the neck, and Scantlebury’s approach to delivery in the verses, which is a bit grittier than elsewhere. The juxtaposition between this and the sugary chorus is cogent.[4/5]
‘Strangest Relief’: This is an album bursting with melodic verve, and a definite essence of melancholy, the specific sort that comes with this time of year. This is another contender for the best song on the album, comprised of wistful strums on the acoustic, touching lyrics, and a particularly arresting vocal performance. [4/5]
‘Bright Yellow’: The album is particularly adept at drawing upon electronic textures to bolster its scope, and here it is particularly evident. Synths, the band’s instruments, and Scantlebury’s vocals envelop the listener to create a number you can’t help but lose yourself in. It’s also marked out by the almost Elastica-esque riff. [4/5]
‘Concrete’: A return to a more energetic groove. Featuring another simple but effective bassline, and guitar textures that bring to mind early Wild Nothing; that’s not a bad thing at all, but quite the opposite. With tracks such as these, you get the feeling it won’t be long before Lazy Day blows up. [4/5]
‘Falling Behind’: One of the catchiest and punky stops on the record, this crunchy effort will undoubtedly earn the band new fans, with it doing everything they do best, from the lyrics to the compositional aspects. Turn it up loud, the chorus will be stuck in your head for days. [4/5]
‘Alright’: If you want a perfect cosy anthem, you’re likely not to get much better than this. Chiming guitars, an absolutely stunning chorus, and just the right amount of melancholy without it being too bleak; it’s one of those fit for grey morning commutes, a coffee on a worn park bench, or a moment of reflection in the shower. [4.5/5]
‘Joke’: It’s more of the same here, and while that’s no bad thing, it’s hard to differentiate it from other songs. [3/5]
‘Not Now’: I love the hypnotic, reverb-drenched pattern that underpins the chorus in this one, before the song, in true Lazy Day fashion, segues into a splendid chorus that washes over you. [4/5]
‘All The Things That I Love’: Running at just over a minute long, suspended upon Scantlebury’s dream-like acoustic and their quietened sincere delivery and lyrics, it’s a lovely way to end the record. Simple but effective. [4/5]
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