by Ljubinko Zivkovic (@zivljub)
When a new music trend crops up, particularly when it originates outside the usual (rock) music axis, it is in most cases dismissed as something that will dissipate quickly, often, without a trace. When New Zealand became the source of such a trend in the early Eighties, particularly concentrated around the Flying Nun label and bands like The Chills and The Clean, the same thing happened. Yet, some forty years on, not only is this “new trend” still around, but its influences have hit the rock axis with full force. It is no shame, as its seemingly simple premises of quirky melodies and non complicated arrangements, often itself inspired by The Velvet Underground in combination with anything else, are usually the best basis for some great melody-oriented rock.
San Francisco's Galore can certainly fall into the category of the artists who have picked up on this “New Zealand” premise. Their initial, self-titled album from 2020, and particularly their latest five song EP, Blush, are brim-full of both catchy melodies and uncluttered, seemingly simple, guitar-driven arrangements that are airy and full of bright melodies that stick to your ears. Yet, these seemingly simple melodies unveil complexities in both arrangements and melody lines that defy simplicity and turn them into something actually quite complex.
On Blush, Ava Rosen (bass), Britta Leijonflycht (guitar), Griffin Jones (guitar) and Hannah Smith (drums), who all contribute as songwriters, seem to have come up with five pop rock gems that don’t disappoint in any aspect. From the intricate vocals of the opener “New Living” and the organ-guitar combination of “Jackpot,” through to the intricate melodies of “Ladders” and “Fire,” to the true gem of the closing “Second Moon,” they show that simplicity is the most complex thing to do and usually brings the most musical rewards.