Morning Bruise – Cfit


I have written a little before about what seems to be a (re)surge(nce) of Irish bands , such as my beloved Halves, Overhead the Albatross, Alarmist, Croupier etc. with their mix of slightly post rock, a bit prog and a twang of indie flavour to them.

Cfit, a seven piece Dublin band born of Noel Duplaa, are a new band to me, their latest EP Morning Bruise released on September 2nd follows on from their debut album Triage of last year, generously a free download at Bandcamp. At just four tracks, coming in at around twenty minutes or so, Morning Bruise is an elegant introduction to the band.

Opener, Coke and Spiriters, is a rich and warm track building on its opening synth moan of a mutant toy train by adding percussion, a rumbling bass and guitar with a multi layers vocal, creating a rather lovely production with a musical a maturity that seems to belie their youth and freshness. The strings are perhaps the thing that link them aurally to their compatriots like Halves. This is a track that, even at six minutes, could easily have built for longer and then perhaps outstayed its welcome instead it leaves its subtle hooks to gradually establish themselves over several plays.

Next up the relatively short track Heliophilia has a vaguely eastern electronic wail and percussion that precedes the vocals that echo the likes of my much loved, but recently quiet, Under the Igloo. The soprano (?) sax line brings memories of early Gong or a calmer Melt Yourself Down, before the track takes off driven by its drum line, only to end again a tad sooner than many a band might have done.

The vocals and later the key guitar line are much more to the fore in Tenderfoot and around 1’45” there is that swooning orchestral chorus section that later builds with a hint of A Day in the Life controlled chaotic sound, collapsing again at the end of this rather blissful track.

Final track Spitefuck is perhaps a more traditional track than the others here, and none the worse for that, and the opening melody is strangely redolent of an old Edith Piaf song. Just about the longest track here it does have the time to grow and develop in the second half into an almost soaring anthemic piece, with a bit of brass and a stately swagger before again falling back into the style it began with.

All the tracks have that sense of an underlying beauty, tenderness and control. A short collection of tracks that repay and require a few plays to present their ethereal qualities. Cfit really do have something rather wonderful here, eminently worth discovering and growing to love.

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