After several tumultuous years of re-evaluation, relocation & band changes, multi-instrumentalist William Curren (aka Camelot) went back to basics to rediscover his love of music.
Now residing in Los Angeles, it seems Camelot has exorcised many demons, as his new EP, ‘Four Years Later,’ feels fresh as a daisy, capturing the magical spark of creation.
‘Too Tired’ – A wonderfully crisp, shuffling beat with a gentle, clean guitar makes for an intriguing introduction to the record. William’s vocals have a clean-cut sound too, and it all reminded me of 90’s indie-rock stalwarts The Stone Roses. It’s a simple track with infectious energy and a plethora of hooks.
‘SLTB’ – The abbreviated title stands for ‘She Loves The Breeze’, and this has a slightly more jazzy sound, with a generous warmth and some 70’s sensibilities. I really liked the expressive vocal with that subtle portamento, creeping up on some of the notes like a hungry predator. This feels like an old dusty piece of vinyl, discovered while crate-digging in a backstreet record store. It conveys some poetic existential reflections too:
“You’re waiting on some winter
Some frostbite to bless all your toes
You question all existing life
As you drive in the dead of the night”
‘In Circles’ – Jangly guitars with a wonky, broken typewriter character. A hint of dissonance and an unstoppable pace that is contrasted by the slower top line of the vocal. It’s a lo-fi, home-made style that really adds a layer of grit, and gives the track a workmanlike kind of authenticity.
‘IDWK’ – (aka ‘I Don’t Wanna Know’). The bass comes through loud and clear with a warm pulse – a nice contrast to the guitars. There’s heavy tremolo and tons of distortion. There are rattles and squeaks and a fragile, delicate vocal that adds a slightly ghostly quality to the production. Lyrically, this one really wears its heart on its sleeve.
‘Half Breathing’ – I got really strong 60’s vibes here – there’s a swagger and a soulful honesty to this track that was really nice. Like some forgotten Rolling Stones album track, there’s a lower, sultry vocal with perfectly judged distortion. The evocative rhythm guitar transported me to a dark and smoky back room club. My favourite track so far.
“Feels like yesterday but somethings missing
There’s broken glass and blood in the kitchen
oh oh”
‘Alone, Alone’ – The chugging, tactile guitars sound amazing here, exhibiting just the right amount of metallic crunch and veiled, damped subtlety. Sudden crescendos add a nice intensity too, and the vocal sounds more pained and anguished than before. When the song finished, I couldn’t help feeling there were unexplored places it could have gone. I was left with a strange sense of unfinished business.
“I’d rather you’d stay then be
Alone, alone
I’d rather you’d stay then be
Alone, alone”
The production on ‘Four Years Later’ is so varied and dynamic that it feels like another member of the band. Each track has a character and atmosphere all its own, and as William played most of the instruments, it really is a singular, deeply personal vision.
‘Four Years Later’ might have been born from quite a dark time – and there are certainly moments of melancholy here – but at the same time, these tracks feel warm and alive, radiating a renewed passion and creative vitality.
Written by Grubby
