Arriving after a year's worth of anticipation that included plenty of blogger appreciation, several EPs, and inclusion in the BBC's Sound of 2013 shortlist,
Chvrches
' debut album surpassed the significant hype surrounding it. Many of
The Bones of What You Believe
's songs already appeared on those buzz-building EPs, most notably "The Mother We Share," "Gun," and "Recover," all of which exemplify the Glasgow trio's way with frosty synths and poignant melodies. Within the album's context, though, they reveal a band not nearly as arty or aloof as their seemingly like-minded contemporaries. With their ready hooks and fondness for grand gestures,
bring pop with a capital P back to synth pop. As their early EPs hinted, a large part of their appeal comes from
Lauren Mayberry
's voice. There's something about her bright, slightly raspy soprano that grabs ears and hearts, even though she spends most of the album telling off those near and dear to her. On "Lungs," she sings "All the things you tell yourself offer no resolution" to a melody so sweet that it just sharpens the sting of her words, and the way she delivers the refrain "I'll be a thorn in your side" on "We Sink" sounds more like a promise than a threat. While keyboardist/vocalist
Martin Doherty
's lead turns on "Under the Tide" and the dreamy album-closer "You Caught the Light" offer pleasant respites from
Mayberry
's intensity, his tracks take the band in a direction that sounds more like a synth-driven version of
Frightened Rabbit
or
the Twilight Sad
(in fact,
Doherty
was a touring member of the latter band). Like those bands, as well as their '80s influences,
embrace big sounds and feelings without a trace of irony, whether it's "Tether"'s massive drums or
's pleas to "make me blind so I don't ever look back" on the slow-building "Night Sky." This disarming emotional directness, coupled with huge melodies, makes
a fine introduction to one of the bands that shaped the sound of the 2010s. [The tenth anniversary edition of
combines a remastered version of the album (courtesy of
Gavin Lurssen
, who also mastered 2021's
Screen Violence
) with five live tracks from a 2013 show at Brussels' Ancienne Belgique and four previously unreleased songs that reveal the bones of
' music. Though "Talking in My Sleep" was one of the first songs they recorded after bringing
into the fold, it's a strong example of the sweeping synth melodies and choppy vocal samples that became hallmarks of their style. Similarly, "Manhattan" is a little longer and more expansive than most of the songs that ended up on their debut album, but it's still the work of a band with a strong vision -- which makes it a treat for fans to hear years later.] ~ Heather Phares