Alvvays, 'Alvvays'

The dubiously named Toronto- based five piece Alvvays have been tearing up the airwaves with their recent singles Adult Diversion and Archie, Marry Me; both perfect summer-tinged bursts of dreamy surf-pop. Their debut LP follows in a similar fashion, each track finding the balance between cheerful harmonies and melancholy life observations. The eponymous album was produced by fellow Canadian Chad Van Gaalen and mixed by Holy Fuck’s Graham Walsh as well as John Agnello, who has contributed to records by the likes of Sonic Youth, Dinosaur Jr. and Kurt Vile. These influences are obvious in the scuzzy reverb-heavy guitar which drives the band’s sound.

The album is sung mainly in the first person, with Molly Rankin’s vocals feeling more like they are directed at a particular someone than a throw-away generalisation. At first listen this sounds like a typical collection of lovesick pop songs which have been given the ever popular lo-fi treatment. However, behind the layers of chirpy C86-inspired melodies this LP perfectly reflects the up-and-down reality of modern relationships.

'Alvvays' boldly opens with the band’s two recent singles, which is an indication of the quality of the tunes on this record; it’s short and sweet but there’s not one song which sounds like a filler. 'Adult Diversion' sounds like Belle and Sebastian meets Rilo Kiley, but with Teenage Fanclub grunginess to take the edge off the saccharine. 'Archie, Marry Me' follows with its heartfelt yet humorous lyrics (it’s not every day you hear breadmakers mentioned in song) belted out by Rankin in what must surely be the catchiest chorus of the summer. It gets sweeter with each listen, and it’s easy to see how comparisons to Best Coast have been drawn.

'Ones Who Love You' is slower, with another wailing chorus. It seems that songs about heartbreak are what Alvvays do best, and 'Next of Kin' is no exception, although for a track about watching someone drown it’s still pretty cheery. 'Party Police' is sadder but still upbeat in its own way, with dark synths creeping in towards the end. A surfy guitar solo on 'The Agency Group' teamed with jangly drums brings back the faux-California sound which dominates the LP. More 1980s synths on the Beach House-esque 'Dives' intensify the sense of mournful longing. 'Atop A Cake' is like a classic snippet of shoegaze, which could easily have been released 20 years ago, and 'Red Planet' brings the album to a gloomy, brooding end.

It might not be the most original album you’ll hear this year, but for a debut LP it’s a fantastic effort. The misleadingly cheerful retro sound teamed with their bittersweet lyrics is winning combination, the perfect soundtrack for a wistful road trip or a lazy afternoon lounging in the sun. Whether their sound will have the longevity to maintain their career for another summer is hard to tell, so enjoy it while it lasts.