Aside from EP releases 4 Track Mind and Flat Out, both released in 2014 (quite possibly the busiest year in the band’s career so far), the music scene hasn’t been witness to an album from these young Irish rockstars since Snapshot in 2013. No differently to Snapshot, Little Victories is set to cause shock waves – with it’s unforgiving, raucous edge that sets the youth of The Strypes apart from older members of the industry. Already so experienced, Little Victories proves to the masses that these guys have the whole world at their fingertips.
The record sets off with ‘Get Into It’, and that’s exactly what happens when you listen to the catchy riff. Both main vocalist Ross Farrelly and lead guitarist Josh McClorey join forces to sing out the verses, increasing the power and sincerity of the lyrics. Ross proclaims as the chorus launches “she makes you go”, followed by a drawn out ‘aahhh’ – the lack of words showing the somewhat adorable immaturity and naivety of the band, made even more poignant by the singer’s tender age of 17.
‘I Need To Be Your Only’ continues the album with no less gusto than the previous tune. McClorey hits out the speedy guitar riff as the song barely loses its pace through its entirety. Longing fills the lyrics as Farrelly cries “you’re out of this world / you’re the girl of my dreams” – it’s difficult not to swoon at his charm. Hysteria closes the track as Farrelly screams out ‘I just need to be your only” before the ending abruptly ceases.
Next comes what is unquestionably a highlight of the record. ‘A Good Night’s Sleep And A Cab Fare Home’, though a lengthy title, it’s worth the effort ten times over. The chilled out vocals hold an undercurrent of heaviness from all instruments involved, and the epic drum intermission from Evan Walsh is something John Bonham of Led Zeppelin would be proud of. The only track that appears to sway more towards the indie genre than the rock and blues the band are famed for, it’s a welcome change that cannot go unnoticed.
This relaxed effort is juxtaposed by its follow up ‘Eighty-Four’, in which guitar and drums have never felt so perfectly combined to form no less than a slap in the face of rock. Again with a romantic theme, the lyrics read “my Juliet, my escape” and we are left to question exactly what these boys have gotten up to in the process of writing this album – it’s filled with many hints that rockstar status has been very beneficial to them. The intro matches the outro, a technique bassist Pete O’Hanlon described as the last resort, as they are a band known for ‘shit endings’ to their songs. Regardless, this fact doesn’t take away from the overall effect of the tune.
Immature and unapologetic is ‘Queen Of The Half Crown’, taking its name from an Irish expression for being drunk – it’s riddled with evidence of messy nights out on the town that the youngsters are sure to have endured, apparently with a “fucked up” girl by their side “breathing in a bag of sunshine”. This is followed up by ‘(I Wanna Be Your) Everyday’, described critically by Ross as ‘the worst song on the album’ – it’s certainly different to The Strypes’ usual stuff. The lyrics are almost whiny as the theme of longing that is seen throughout the rest of the record, hits a wall. However, the trippy and psychedelic outro which purposely closes the first side of the album on vinyl, is well executed by Josh – the raging distortion making up for what may have been lacking in the bulk of the song.
‘Best Man’ is a delightful homage to Josh’s best friend from home, and the reminiscent lyrics of their times together really are heart-warming as Ross proclaims on Josh’s behalf “you know you’re my best man”. Of course these cool and laidback rockers would never let it be soppy, as Ross’ screaming vocals and the rampant playing from all other members keeps it just as Strypes-esque as any other track musters. It may be the most emotionally genuine, but easily the loudest and most unforgiving arrangement thus far.
Darker themes come into play at this moment in the album courtesy of ‘Three Streets And A Village Green’ and ‘Now She’s Gone’. The former tells of the grievances of fame and missing home whilst on tour – suddenly transforming the ripe age of the band from endearing to problematic, as they undoubtedly live a life completely different life to their peers. Josh’s guitar is eerie and mysterious, and Ross’ vocals on lyrics like “trying to avoid the ego machine”, fill the song with an angsty and distressed vibe. ‘Now She’s Gone’, though not as obviously so, also has darker undertones as the lyrics unforgivably forget a lost love. The lyrics “I tell everybody that I’m a shadow of a shadow that I used to be” are cruel and direct; confirmed as Ross proclaims “I just can’t wait till I lay my head now she’s gone”. It’s honest, brutal, and no doubt strikes a few nerves with the listeners.
Following tracks ‘Status Update’ and ‘Cruel Brunette’ are as Strypes as they come – ‘Status Update’ finally bringing back the bluesy sound of the old days of the band, which is definitely not as full-frontal in this record as in Snapshot. The harmonica is back and Ross is shown to be the perfect one to croon such a genre. It’s an excellent penultimate.
Finally, ‘Scumbag City’ is what brings everything to the close this album deserves. Reminiscent of their time back in their home town of Cavern (especially Josh’s experience), this confident track tells of the love/hate relationship with the town – transitioning from hating where they lived to growing up to appreciate it for the better. And that is a perfect summary of the entire transition The Strypes have taken with this album – they are growing up.
Little Victories is a coming-of-age spectacle that couldn’t more perfectly frame the band’s journey since their humble beginnings of Snapshot. Josh McClorey has demonstrated immense skill, being responsible for almost all of the song-writing, and it simply wouldn’t be as well executed without his guitar. Ross Farrelly has certainly found his voice and has now developed an unmistakable sound, not unlike Pete and Evan; arguably the best rhythm section in the business right now. An almost flawless and triumphant record, I believe The Strypes may have just changed their lives.
Words by Hannah Campbell