Man/Woman/Chainsaw's debut album, 'Cannonball', is a wild ride through the realms of experimental pop, with a healthy dose of rock and a dash of shoegaze. It's a record that showcases the band's unique blend of the weird and the wonderful, with a focus on melody and a knack for the unexpected. This album is a testament to their ability to balance the abrasively wanky art-rock with a more accessible, pop-driven sound.
The album opens with a bang, quite literally, as the crack of a snare introduces 'Only Girl'. This track is a sea of shoegazey guitars and ascending violins, but it's the pure pop melody that truly shines. As guitarist Billy Ward explains, this isn't 'weird for weird's sake', but rather a focus on the song itself, with a vibe and joy that permeate the entire album. This is evident in the honey-drenched earworm vocal ballad 'Canyons', which could easily be mistaken for a track by Adele or Alicia Keys, but it's the twist that follows that makes it truly special. The song soon descends into a jarring strings-assisted grunge assault, reminiscent of old-school dEUS, with a grit and intensity that is a stark contrast to the initial ballad.
The band's ability to balance these contrasting styles is a highlight of the album. 'Still Angry' is a prime example, a Radio 1-friendly chart-topper for most pop girls, but it's the M/C/W's delightfully demented rock mangle that gives it its edge. This balance is also evident in the soulful and loungey 'Lighter', a jazz club moment with a spectral post-rock bed, creating a blissful sentiment that is both intimate and expansive.
Man/Woman/Chainsaw's live performances have also been a key part of their development. Having played over 100 gigs by the age of 19, the band has honed their stage presence and sound. With lead vocals shared by Ward, keys player Emmie-Mae Avery, and bassist Vera Leppänen, the band is a force to be reckoned with. The addition of violinist Clio Starwood, the earth-scorching guitar of Billy Doyle, and Lola Cherry's purposeful rhythms, Man/Woman/Chainsaw is a 12-legged beast on the attack.
The album's standout track, 'Nosedive', is a strutting mash-up of cinematic tension, bolstered by the pre-coming-up magic of LCD Soundsystem and the nerdy dancefloor clarion call of Los Campesinos. It's a festival sing-along in the making, with a catchy hook that will have you grooving. 'Godddamn, Lizard Man!' is another standout, an assured modern update of Nick Cave's 'Red Right Hand', with a warning of a funny guy who'll greet you with a kiss but will suck your blood and hang you up to dry.
The album's diverse range of styles continues with the hell-bound tango of 'Flick Of The Wrist', the slow-burning nightmare folk of 'Get Up And Dance', the runaway desert rock of 'The Thing', and the trip-hop exorcism of the closer 'Something Else To Give'. 'Cannonball' is a leap forward from their raw ambition on the debut EP 'Eazy Peasy', creating an album that is experimental but never over-indulgent. It's a giddily playful and emotionally direct record that will make you dance, smile, tremble, and weep.
In conclusion, 'Cannonball' is one of the most accomplished debuts of the year, a surefire Mercury Prize 2027 nominee. It's an album that showcases the band's unique sound and their ability to balance the weird and the wonderful, with a focus on melody and a knack for the unexpected. This is a band that is definitely one to watch, and 'Cannonball' is a cannonball that makes one hell of a splash.
