2018 is definitely proving to be the year of the amplifier, and London’s eccentrically charismatic Fitzsimon and Brogan deliver some truly epic grooves on their stellar new album, Big Blue World, out this June everywhere that indie music is streamed and sold. Steeped in a brilliant blend of psychedelia, post-punk, dream pop and late 80’s jangle/college rock, Big Blue World is a thoroughly ambitious album that fearlessly struts through across the sonic spectrum with a confidence and swagger that ignites the listeners’ passions and makes for a stunning connection between artist and audience. I had the great pleasure of giving this record a spin ahead of its release and couldn’t have been more enamored with the wealth of content that I discovered.
Comprised of the multitalented duo of Neil Fitzsimon and Bree Brogan, the eponymous Fitzsimon and Brogan are hardly neophytes to the international music scene. Already extremely well respected in their native Britain and across Europe for their renowned work ethic and strong adherence to classic DIY standards, the pair have been gaining an incredible amount of buzz and subsequent momentum building up to the release of Big Blue World. I have a very, very strong feeling that this album is going to be the one to break them through to the American mainstream however, as this is by far their most western-accessible record to date, sleekly designed and arranged with a surgeon’s precision. That being said, I’d hardly say that it represents any sort of a departure from the sound that longtime fans have come to fall in love with since their initial formation. Big Blue World sees the band delving deeper into a sonic oasis of feedback and harmonizing, giant riffs that crash into each other ala vintage shoegaze. There’s a decidedly softer bend to this than classic acts like My Bloody Valentine though; there’s a sort of inviting nature, a gracious embrace that embodies each one of the tracks uniquely.
From the blistering title track to the rattling juggernaut “Girl in a Gilded Cage,” fans of raw punk rock and sophisticated proto-alternative rock will equally find shades of their respective scenes in Big Blue World. And while there’s a couple of tweaks I would have made to a couple of the finishing mix, production quality is absolutely superior and you can tell that Fitzsimon and Brogan spent an awful lot of time working out the kinks to make this record flow with the nimbleness that it does. Without question I highly recommend that music enthusiasts and casual fans of true indie rock give this record a close look and see what they think. It’s easily a great mid-season contender for independent release of the year, and after it gets into regular rotation on specialty radio over the summer, this British sensation might be unstoppable if they were ever to hit the road and embark on an international tour. While it’s not in the cards at the moment, I’d certainly hope to see them make their way over to my corner of the United States; if their live show lives up to the talent they bring into the studio, I wouldn’t be able to miss it.