The Joy Hotel – ‘Ceremony’ album review: A mindblowing odyssey that screams pure genius
THE SKINNY: With the entire history of music at our fingertips, there’s this misguided claim thrown around that nothing can be truly new. People try to argue that referencing is synonymous with a lack of newness and that embracing influences impeaches originality. But inspiration is a powerful thing; why deny it? With the right music education placed in the hands of the right people, The Joy Hotel have created something astonishing. Their work is so assured that the main marvel is: “How on earth is this a debut?”
Ceremony is presented with a masterstroke so polished yet so adventurous that it teeters on genuine genius. The Joy Hotel, a band from Glasgow, stand as an expansive team of seven musicians. They bring together six voices for harmonies, with Emme Woods and Luke Boyce passing the lead between them in a kind of Fleetwood Mac display of dynamics. Their sound as a collective feels like one huge, glorious melting pot of a whole spectrum of colours, genres and eras. There are Queen-like theatrical riffs, Billy Joel-inspired characterful piano moments, Led Zeppelin scale epic rock explosions and an endless list of others. It’s an audio experience that feels deeply influenced by the 1960s and ‘70s but embodies a sense of experimental adventure and maximalism that’s been missing in music since then.
It’s an album that has no interest in downplaying itself or reigning anything in. All seven musicians are playing at the absolute peak of their ability here, with a polish and skill so adroitly clear that it’s almost reminiscent of Brian Wilson’s late 1960s fanaticism and vision. But at the same time, it’s delivered with enthusiasm and excitement so bright that it bursts out of each note, indicative of youthful enthusiasm.
Every time, one track seamlessly rolls into another, carrying its listener deep into this journey of steadily building energy. And the fact that it was all recorded live to tape is just the cherry on top.
This is the sort of album that’s made when artists are allowed to just follow their ideas to the furthest degree, straying down the path of their vision alone. The Joy Hotel’s venture into their musical world is one paved with pure gold and journeyed with real bravery and confidence. The result is an album that asserts itself with uncompromising power, unlimited potential, and creativity, and it knows no limit. Borrowing from legends that have come before them, it’s a nostalgia trip of a record that will build an incredible future.
For fans of: A no-skip-trip of pure greatness.
A concluding comment from Brian Wilson in his Laurel Canyon days: “God only knows what the future holds for The Joy Hotel.”
Ceremony track by track
Release date: July 19th | Producer: Christopher James McCrory | Label: So Recordings
‘I Decline’: With the sound of a metronome counting them in, The Joy Hotel’s live-to-tape debut album starts with a beat as if you feel the band take a deep breath and dive in. But instantly, they find their feet with a sprawling epic that feels like several tracks in one in the best way. [4.5/5]
‘Forever Tender Blue’: The album’s first seamless transition as the first track blurs into the next instantly sets the quality level sky high. It all feels like one extended piece, with the songs being stunning landmarks to stop at and marvel at on the journey through. [4.5/5]
‘First Joy’: After another transition, the band tease their listeners for a minute until Emme Woods’ stunning vocals come in, building and building until a breakthrough bursts to life. It’s Pink Floyd meets Led Zeppelin, experimentation meeting pure rock and roll. [4.5/5]
‘Jeremiah’: The band are well and truly into it by the time you reach this expansive, full-band wall of sound. Emme Woods and Luke Boyce’s voices feel made to go together, delivering 1970s glory like a Fleetwood Mac for the modern age. [4.5/5]
‘Black Balloon’: As the tracks seamlessly blend into a new one with the band’s tight six-part harmony, ‘Black Balloon’ starts out like a cinematic piano ballad before exploding into colour. It feels like several songs in one as Boyce and Woods take turns in the spotlight with the band swelling masterfully around them. [4.5/5]
‘Rapid Eye Movement’: Now it’s Led Zeppelin meeting the Beach Boys for this inspired, hazy, nostalgic trip. This expansive and journey instrumental is a perfect example of what’s so special about this group as they play with the skill that any classically trained master would approve of but with the energy and imagination of total rockstars. [4.5/5]
‘Old Man’s Eye’: After one roaring track, The Joy Hotel takes you straight into the next without a second to let the vibes drop. ‘Old Man’s Eye’ feels like one of the album’s many hits as Boyce and Woods are back at the mics as the incredible leaders they are. Come for their vocals and stay for the huge, Queen-like guitar riff at the end. [5/5]
‘While You’re Young’: I can’t get over how seamless this album is. It feels like one long piece of music, like some grand musical odyssey or rock opera that listeners are whisked away and carried through. It’s so insanely layered and textured but absolutely polished to perfection, and this is just another prime example of it. [4.5/5]
‘No Use’: The piano outro of the prior track leads you into this brief interlude. The band pull back some of the layers for a short but sweet little ditty, proving that even their filler is still killer. [4/5]
‘Twenty Three (A Comedy) Part 1’: The rock opera feel of the album comes true with this two-part epic ode to the mess of your early 20s. Words fail me at this point because what is there to say about creation so thorough, so dynamic, and so exciting beyond “wow? [5/5]
‘Twenty Three (A Comedy) Part 2’: From the bright and bold roar of part one, part two opens up more introspective and emotive, with a 1970s-dripped guitar line like the start of some Led Zeppelin epic. Then it blows up into a Billy Joel-like piano line, into a Queen Night At The Opera theatrical romp, and into a mad, massive finally that combines all of the above. It’s insane. It’s such a mammoth undertaking, but somehow, The Joy Hotel make it seem so easy, and on their debut album, no less. [5/5]
‘Killing Time’: Allowing space for what’s just passed to settle in, Woods and Boyce take to the mic again for this lights-down-low crooner track, offering a moment of peace that slowly builds and builds to insane power again. The finale of this song is mindblowing, with one of the grandest guitar breaks I’ve heard in so long. [5/5]
‘Small Mercy’: How do you even close out an album like this? Every single track delivers some epic climax worthy of a finale, levelling up and up with each turn. But to end the whole thing, ‘Small Mercy’ strips it back a second before delivering one final outing for their whole band might. [4.5/5]
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