The album opens with an exciting, hard-hitting drum intro for ‘Try Hard’, and what follows is a classic pop-punk anthem with solid technicality that starts off calm, before upping the tempo with a crowd pleasing chorus that makes you want to get involved. ‘Try Hard’ is a great introduction to the band, there’s no holding back and it’s a true testament to what Chief State are about.

‘Deciduous’ is a brilliantly clever song, particularly lyrically in its references to seasonal affective disorder as the change of seasons cause changes in mood – “I am deciduous, dying with the changing of seasons”. It’s a reminder that, whilst some people continue unaffected, others struggle through, in a similar way to the changing state of foliage throughout the year. Whereas most songs about depression are slow and dulcet, it’s quite the opposite in this case; the guitars are again catchy and clean, the fast drumbeat gives no clues and you’ll most likely find yourself strumming along to the sell-out crowd of your imaginary bedroom gig. It’s only when you start to concentrate and interpret the words that the song reveals the layers underneath – most notably how on the outside, people can be their normal cheery upbeat self, but things aren’t always as they seem.

Prior to the album release, ‘Reprise’ was released as a single and gave an inkling of what they could do, however it’s just the tip of the iceberg. The band stepped it up here with a punchy intro that reiterates Chief State’s decidedly-strong love for pop-punk. Despite the verses suffering from being considerably basic, the band make amends and recapture listeners with another impressively beefy chorus. You’ll inevitably find your head nodding, and live crowds will surely sing-along to what is easily the best chorus on the album.

‘Choke’ starts slow, and touches on a subject that will always be difficult; comforting someone we care about, be it a friend or a significant other. The lyrics emphasise positivity through tough times, and the importance of true friendship. The song leans on production to add a poppy touch for the first minute or two, before returning to what they do best with yet another big jump-around chorus.

As debut albums go, it’s far from obvious that this is Chief State’s first full release. The songs are well written, catchy, and easy on the ears, and the end result is a high-quality album for anyone who enjoys pop-punk. There’s plenty of scope for Chief State to take up the Canadian pop punk mantle, and there’s no reason they shouldn’t.

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It’s an album that’s heavily structured and clearly influenced by 80s new wave pop, by way of catchy rhythms and bright lyrics that cover all aspects of love, loss, and longing; the reoccurring pattern of the album.

Ironically, the album starts with ‘Goodbye’, a vibrant opener with a catchy chorus that has a summer feel-good factor. The echo put over Mulders’ vocals really gives it that 80s vibe, and the guitar weaves delicately around the flowing bassline. The music video for this again screams 80s pop, with a colourful kaleidoscope montage of the band members performing in the background, and so many effects that you feel like reaching for the keys to your Cortina and heading out looking like Robert Smith. And whilst it sounds like something you’ve heard on a Channel 4 coming of age sitcom, it’s still different and fresh enough to keep your interest.

The band clearly has a passion for 80s new wave, but they compliment that with elements of indie-tronica (think Crystal Castles and Zolof The Rock & Roll Destroyer) and in that sense, it wouldn’t feel out of place in a night club.

‘Wash Over Me’ and ‘Window in the Shade’ have a darker feel to them, with some raw, powerful guitar riffs and eerie synths in the undertones. The fuzz pedal is clearly stomped on for both of these, slowing down the pace and changing the mood of the album, giving us a taste of the band’s punk roots.’Window in the Shade’ is a variant of the song that was on the bands 2017 EP ‘Wandering and Blue’ and comparing the two really shows how the band have progressed and matured. Where the original features an incredible scream from Mulders, and is slightly heavier on the synths in places, the finished article is incredibly echoey and lacks depth. It actually sounds like its being played though a very small speaker. The 2020 update gives the song a richer, cleaner and much improved sound.

‘Dreams’ picks up the tempo again and starts with a deep and direct bassline that leads to some wonderful layered guitar melodies, whilst Mulders’ vocal talents create yet more stunning harmonies. A simple ‘indie’ style bridge changes the direction of the song, adding some scaling guitars, before it returns to that chunky bassline and ends abruptly.

The album closes with ‘J’ai Tout Perdu’ which, translates to ‘I Lost It All’, and is a perfect ending to the album. The guitars have that sound mastered by The Cure, and you can feel the transformation of an almost apologetic chorus to a bridge that then releases this bottled-up anger and frustration – it’s beautiful, as if it’s a moment of sudden realisation and acceptance.

Mundy’s Bay clearly have a love for the 80s, but what they have done is brought a bit of the 80’s into 2020. Their concoction of 80s indie-electro-punk brings a sound that is so expansive and compelling yet consistently delivers. Their harmonies are on point, the melodies in the right place, and together it all works incredibly well. Yet take any element away and it all falls apart. An album that covers a wide range of genres and emotions, and pulls it off seamlessly.

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The EP opens to a delicate synth rhythm before kicking up a notch with ‘Life for Me’. Full of energy and showcasing the band’s style, it’s a great track to introduce new listeners to the band. The song is dominated by heavy drum beats, yet Sam Patterson’s vocals cut through cleanly, creating a chorus that is both catchy and has a stadium sing-along feel to it.

Writing a memorable chorus is something that seems second nature to Palmist, with the following track ‘Without Her’ being another great example. Another earworm, the vocal harmonies give the song a more expansive sound, tiptoeing the balance between minimalist and excessive.

Finding their sound somewhere among Don Broco, The 1975, and All Time Low, Palmist have a familiarity that sits well within that genre, but have still managed to develop and stamp their image over it and ‘NVRB’ shows that, despite being in a genre where things can sound similar, their technical ability sets them apart. More up tempo than the previous two tracks, the frantic nature of the guitars and assisting vocals from bassist Jack Hudson means the track is somehow more ‘poppy’ than the others, utilising soaring, clean vocals and a quiet/loud/quiet effect that builds throughout the song. It’s here that Palmist prove they know what will get crowds jumping and singing along.

‘Freefall’ opens with a synthy, ethereal intro that evokes a space-like feel. Whilst the guitars are raw throughout the chorus, the gentle synth and bass lines working together bring a warm feel to the verses. A little slower than the other tracks, it’s still full of slick riffs and massive drums, with a heavier breakdown that gives this song a dynamic change of direction with wailing guitars. Closing with the elongated wail of synths, leads you almost directly into the final track, ‘Out of Touch’.

Led by a driving bassline that takes control and dictates the drums, the guitars take more of a backseat. Feature another full chorus, and Patterson and Hudson’s complimenting vocals, the song starts slow and picks up tempo before returning to the wandering bass-led verse, it’s a song that captures the bands ability to write energetic, intricate and, more importantly, catchy as hell songs.

While most bands stick to what they know,  Palmist show diversity, and while belonging to an Alt-rock genre that’s flooded with similar acts, they certainly have a pop-rock edge to them that they lean into, a fact that will only open themselves up to a wider audience. The downside is that of the five tracks included on the EP, only one, ‘Out Of Touch’ hasn’t already been released as a single. While this isn’t uncommon at all, it does have the potential to kill the hype of an EP. That being said, as a collection of singles, it really is great, with each one working together to pull together a coherent EP that does have a singular voice.

Overall, ‘Fake Smiles’ is a solid EP and a great follow up to ‘The Walls between You & I’, showing a more expansive and deliberate sound. While they’re still finding their feet in a competitive genre, there’s enough for them to sound unique and capture part of the market – Palmist are definitely one to keep an eye on going forward.

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