“The best new group in recent years from a pop tradition that attempts to counter what its members might perceive as the market-corroded fantasy of corporate pop and the detached insularity of many underground records. Led by Australian-born Elizabeth Morris, the London foursome established themselves as worthy heirs to Belle and Sebastian, Camera Obscura and the Sarah Records roster with their 2010 self-titled debut, all hummable melodies, clap-along rhythms, and poignantly turned phrases. Europe maintains these qualities and improves upon its predecessor in almost every way.”
“It’s like being a world war one survivor watching your kids go off to world war two,” says Allo Darlin’s coy yet captivating singer, Elizabeth Morris, of watching tonight’s hopeful young indie-pop support acts, and she later pays tribute to fallen comrades-in-arms: “Shrag are calling it a day”. Yet, as critics gnash and guffaw over the supposed death of the guitar, down in its trenches the insular and thriving indie-pop scene hairclips its ears shut and keeps lobbing occasional grenades of greatness into the mainstream melee.
Tonight catches one such missile mid-explosion. In 2010’s self-titled debut and last year’s Europe, Allo Darlin’ have quietly released two impeccable albums of ukulele-based pop in which the everyday splinters of romance – the funfair trysts, Woody Allen film marathons, special songs and magical interrailing moments – are magnified. They are twee enough to make a sceptic choke, but the band have become relative giants in a scene where self-effacing charm, wit, modesty and melody are prized as highly as commercial radio prizes saccharine soul, Auto-Tune and clappable buttocks.
In the anti-glam garb of lumberjack shirt and jeans, Morris bounces and beams through a masterclass of modern cult pop that owes as much to the Smiths and Throwing Muses as it does to the sumptuous folk-pop of Belle and Sebastian and the Lilac Time. It brims with crossover potential. Silver Dollars is laced with the hard-gigging, positive-in-poverty authenticity that Frank Turner recently busked all the way to Wembley, while the infectious waltzer-twirls of The Polaroid Song, Kiss Your Lips and Neil Armstrong are enough to wean the Mumford masses on to the finer stuff.
And when Some People Say – referencing both Billy Bragg’s A New England and the heroic memory of Shrag – strips down to Morris’s fragile warble and mournful ukulele, it prompts a rapt silence worthy of a Bowie comeback. Call off the snipers, they’re going over the top.”
“Allo Darlin’s sound is less scattered than those name-checks might suggest, fitting squarely within a tradition that honors the Smiths and Belle and Sebastian above all. What sets them apart are Morris’ understated wit and the clear enthusiasm of her bandmates, who hurtle through every jangly chord change like they’re falling into a new romance.”
“Staggeringly intelligent and breathtakingly emotive, it’s pop music at its finest, contained not by genre or demographic boundaries. Morris has joined the likes of Jens Lekman, Stephin Merritt and Jonathan Richman in alternative pop music’s great storytellers that deserve better than the constraints of the indie-pop tag. Beautifully poignant, it feels less like a set of songs and more like a collection of memories you’ve yet to experience.”
“Allo Darlin’s songs are like the feel of your favourite jumper or the smell of the sofa at your nan’s house; they’re like the pub you used to go to when you were just 17, before they redecorated it and the old landlord with the rum sense of humour left; they’re like hot chocolate when it’s freezing outside and cola flavour freezepops in the middle of summer. They are warm and somehow familiar, but still fresh and exciting, like meeting up with an old friend from school, getting a bit drunk and finding yourself, quite unexpectedly, falling in love. You will want to take them back to your flat and make them an intimate part of your memories. They will make you feel at home, anywhere.”
“Many bands make big, broad debut albums and their second efforts are often retreats. Allo Darlin’ the band with Allo Darlin’ the album have shot lower and hit higher, and now have open doors before them. The fashion wheel could turn too, and the kind of spirited ‘old school’ indie pop Allo Darlin’ make may be next year’s hot ticket – another reason, if one more were needed, to pay attention now.”