Falmouth-formed Moreish Idols return with details of their highly anticipated debut album “All In The Game”, out on Speedy Wunderground. The album follows their recent singles “Pale Blue Dot” and “Slouch” (with the former marking the label’s 50th 7” single), which have seen the band earn plaudits from the likes of NME, CLASH, DIY, Dork, Wonderland, and BBC Radio 6 Music.Moreish Idols have carved out a unique position for themselves in the burgeoning London scene. Whereas their debut material showcased a restless, jerky, jagged and rhythmically centred sound that bore the influence of energetic post-punk, their second EP showcased an entirely different side to the band. This evolution saw the group stitch together a looser constellation of ideas, combining swooning tremolo guitars, prickly melodic riddles, erudite saxophone improvs, and flexible rhythms, sounding like Watery, Domestic-era Pavement one second and the bucolic Canterbury Scene the next, but always, always like Moreish Idols most of all.
“All In The Game” is filled with Dan Carey’s eccentric production ideas, largely inspired by the concept of time. For the title-track, Carey asked Humphreys to play the same saxophone part at different tempos, recording onto tape which was itself moving at different speeds. He also suggested splitting one of the demo tracks in half, with the first half played as the opening track “Ambergrin”, and the second as the slower, less saturated outro “Time’s Wasting”: designed to sound like a memory of the former. A nod to their debut EP “Float” – which can be played on a continuous loop – the return of the track in this more ethereal, ghostly form captures how ideas, stories and observations are changed by the process of remembering.
