Written by: John Porter
Band:
Title:
Release Date:
Tower Grounds
Tower Grounds
13th March 2026
You might ask, then, does that mean that their sound holds up on record? The straightforward answer is yes. You can certainly tell that the basslines and drum fills developed in the live arena – there’s enough bounce here to carry even the most po-faced of watchers to toe-tap along. Moreover, where some young bands get lost in the mix, it has to be said that the production quality is excellent, putting most contemporaries at the same level and with the same level of experience to shame.
The first thing you’ll notice is all of that really gives the album a clear, crisp sound, and that helps the solid backbone of the rhythm section come through loud and clear. In fact, no matter which track you jump from or to, the groove flows through pretty much every track on the album. It’s perhaps most notable in mid-album tracks like Remorse Boy – perhaps the best example, all Strokes riffs and unapologetic, powerful drums, or OK Driver. But in all honesty, there’s a danceable quality to most of this album, and while it’s influences are obvious (most of the mid 2000s/2010s indie the band grew up with, and perhaps in some cases, even played in), there’s also elements of funk and even playful pop. Perhaps the long gestation period allowed the band to really flex its muscles and have fun recording this, because it’s full of cheer and mischief in its tunefulness, and in truth, there’s nothing wrong with that in a scene that’s often bleak.
… this is an accomplished debut, that’s polished enough that it makes clear the band’s had time to cook, rest, and slice this one up efficiently.. ..
It’s not by-the-numbers, though, and that’s perhaps best exemplified by the vocal choices on the album. Let’s not sugar-coat it – lead singer Jamie Mellor has an insanely unique vocal style, and I suspect it will either immediately catch the ear, or whatever the opposite is – I can’t honestly say I’ve heard much like it. While it doesn’t always sparkle on every track, Mellor does a fantastic job of adding playfulness and/or menace as the scene demands to some occasionally very sinister lyrics, and it’s uniqueness is definitely its calling card in a scene often filled with Gallagher and Alex Turner soundalikes. You may love it or hate it, but it stands out, and it worked pretty well for me on the whole.
I also have to commend whoever decided to have Mellor back himself with pitch-shifted and warped vocals, which included some amusing bird noises on Birdland. It’s just opaque enough that it leaves you wondering what the hell’s going on. Still, after confirming it was indeed Mellor backing himself up, I have to think it was one of the more daring indie production choices I can think of. At least since Morrissey backed himself on Bigmouth Strikes Again under the pseudonym ‘Ann Coates’, anyway. Done wrong, it could be a disaster, but here it actually surprisingly adds to the songs. Whether their Manchester brothers were an inspiration or not, I can’t say, but I suspect they won’t mind the comparison.
In summary, this is an accomplished debut, that’s polished enough that it makes clear the band’s had time to cook, rest, and slice this one up efficiently. Finding your audience in the era of streaming and thousands of people forming bands can be tough, but I suspect this package of pleasing indie-rock will find an audience. I’m intrigued to see where they go in the future, and this album stands out in an indie scene that seems to have increasingly tipped over into gloom.
Tower Grounds are:
Jamie Mellor – Vocals/Guitar
Will Lloyd – Bass
Robert Maliszewski – Drums
Track Listing
- The One Ear Inn, Bed and Breakfast
- Birdland
- Homecoming
- Remorse Boy
- Ok Driver
- Midnight Caller
- Last Of Your Kind
- Sister
- Long Goodbyes
- Fatal Attraction
- Leave Love (Where You Find it)
- She Hung The Moon
- Forman’s Basement
- Losing The Record