Lime Garden's 'One More Thing' Is an Essential Indie Record
Photo: Jono White
Brighton-based indie quartet Lime Garden, comprised of vocalist Chloe Howard, lead guitarist Leila Deeley, drummer Annabel Whittle, and bassist Tippi Morgan, have FINALLY released their debut album, One More Thing, and it's a truly striking collection that was well worth the wait. The ten-track body of work is an effortless ode to womanhood and coming of age littered with fizzing indie-pop of the indie sleaze era, experimental electro, and moments of pure heart.
"Love Song" kicks off the album with an opening riff so captivating that it sets up the band to start on the best note. A genuine and effortless approach to the tricky feelings of affection and obsession, the track also examines how thin that line can be. The lyrics invite you to jump for joy. At the same time, the instrumental demands it, especially on pleading lines like "As I walk / As I bleed / I want to take you everywhere with me," which have gritty electronic arpeggios and the metronome of Deeley's distorted guitar stabs supporting it.
"Mother" is a profoundly moving reflection on the relationship between a parent and an adult daughter. It shifts away from the previous track's catchy urgency, leaning into and embracing more atmospheric shoegaze sonics. Howard croons earnestly, "Can't afford to live my life / I'm scared of living or to die / The thought of what it would be like / As the years seem to go bye-bye," underlined by a catchy bass hook. The chorus sees Howard realize what motherhood means and the sacrifices that come along with it, ultimately apologizing for all her "words of pain and of hurt."
Kicking back into high gear, the band delivers a stellar double whammy of mocking social commentary in "Nepotism (baby)" and "Popstar." The former, arguably one of their best songs on the album, serves as the ultimate mic drop on the nepotism debate. The band cut into the conversation aided by grungey guitars, endless wit, and humourous lyrics, including the incredibly clever bridge, "To be the it-girl is to be it, and that's what I plan to do. To have a face like an angel, with enough money to do whatever the fuck it is they do." Meanwhile, "Popstar" is an anthem for those desperately wanting to cast off their day job and dive fully into the life they're lusting after. Pairing racing disco elasticity, Bon Iver style auto-tune with down-to-earth exasperation, the track sits freely in the anchored nooks of the mix, with Whittle's drums and Morgan's bass as the driving force behind the unbridled energy of the track.
The last two songs of the album are personal favorites. The cinematic and sweeping "It" is the longest track on the album and rightfully earns its extended run time. Its stripped-back intro overflows with honest vocal belting, contrasting the track's second half with floaty harmonies and synth twangs. Howard stands alone at the sparse start, almost more akin to delivering spoken word poetry than anything else. She lets her voice soar, demanding attention for the band's lyrics on this emotive track that explores growing up and losing your grip on things, setting the stage for an even more powerful breakdown.
Ending the album on a somber note, the band makes their closing remarks on "Looking," proving that nothing is off limits, as the album's finale plays on the heartstrings of the soul in an undemanding acoustic harmonized lullaby. Stripped back and beautiful, it's a moment of reflection before listeners doubtlessly hit repeat.
Lime Garden has skillfully demonstrated a personal and intrinsic musical cleverness with One More Thing. Bleeding with originality, they are essential to the indie scene right now. While the themes on the record are clear and consistent from beginning to end, the musicality of this record is incredibly diverse, taking listeners on a rollercoaster of nostalgic and original sounds.
Listen to One More Thing below:
