Liverpool Sound and Vision Rating 9/10
The suburbs, a place once where aspiration meant social prosperity, a status and condition of overcoming what was perhaps intended and which became the abiding sanctuary for the dreams to unfold, for the belief that we might witness the event of One Million Suburban Sunsets take hold and see the stars reflected in our eyes.
Lincoln’s own stars shine ever brightly, a pace where four sons outperform the heat from those million sunsets, and dazzle with life in a way that the evensong of the celestials cannot touch; for in human endeavour the heavens may rise, but creativity and imagination trumps all.
For It’s Karma It’s Cool the best yet has arrived from out of the shade and into burning, brilliant tones of discovery, a group that has hit the highs of performance, have without argument outdone themselves in the new release One Million Suburban Sunsets.
It is an album released on the back of an exquisite number of singles produced for the consumption of the listener, a greeting of intent that breaks the silence of anew dawn with more than a chorus from birds and suns alike, this is a herald of inspiration, a messenger of the inhabitants of those ready to be seen beyond the faithful’s adoring smiles.
For Jim Styring, Martyn Bewick, Mikey Barraclough, and Adam Jolivel-Perkins the tracks are the radiating presence that does more than tweak the curtain of interest, they fully display their meaning on the lawns of resourcefulness without fear, and as songs such as the opener Crashability, 21st Century Meds, Serotonin, These Heavy Days, Goliath, and Sidewalk Flowers, what transpires is elegance in rapture, a heavy guitar power pop beat which refuses to surrender to the elements, to the naysayers, and insists on being heard, perhaps for the first time, and like the mystery of a sunrise, so the sunset is not mourned, it is gratified on what it heralds in its pace to come.
One Million Suburban Sunsets is It’s Karma It’s Cool most discerning release yet, fully immersed, absolutely realised, and one that pumps the music to its most dramatic high noon.
Ian D. Hall