Superfood – ‘Melting’
Saturday is with us once again, and to celebrate, we have for you a delicious slice of 1990s-edged, pop-infused, fuzz-filled Superfood tart and their new release, ‘Melting’. It’s as Britpop as Noel Gallagher, Damon Albarn and Jarvis Cocker in a cocaine bathtub, full of all the hooks of a fisherman’s window with enough bite to get you salivating. Superfood’s ‘Melting’ is our Track Of The Day.
Now, there is one gripe I have with this song, and luckily, it’s the intro, so we can move on from it rather quickly. We are led into this mid-90s drawl and swagger by a melody that sounds almost exactly like Lilly Allen’s Littlest Things. Ok, it’s not exactly like Allen’s poptastic hit, but I challenge anyone to hear it and not fall into the same trap I did.
Luckily for us, this is where the similarity between the songs ends, and ‘Melting’ crystallises into a shimmering jewel in the British rock ‘n’ roll crown. The riffs are decadently marauding and as catchy as the common cold, delivering some Weezer-esque hooks extenuated by the sardonic vocals of Dom Ganderton.
This combination continues to tingle the ears until the breakdown, where Dom’s vocals provide a gospel reprieve. This goes on until Ryan Malcolm’s guitar comes thrusting back in with all the Britpop swagger of Graham Coxon, and we are again treated to the college-rock style Superfood is known for.
Coming out of the Midlands, it seems fitting that the band combine the Northern sound of Suede with cock sure advances of the Southern sound of Blur, summed up by Dom’s drawling Albarn vocals. However, that is not where all the band’s influences lie. In the video release, Superfood are a representation of British culture, a bubbling and boiling crucible of past and present. ‘Melting’ provides ’90s hooks, ’60s attitude and ’70s breakdowns that prove the band are not just a one-trick pony but have a far richer lexicon.
In truth, the 1990s influence is hard to ignore. It’s a constant comrade in this track but far from the neo-grunge, lethargic sound we have been hearing of late. This track has a showroom sparkle that Britpop first brought us in the mid-90s: a rejection of rejection and an acceptance of getting what you can when you can. In short, it is a return of the genre to the masses, and we love it.
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