Don't Worry—Ideaslism

I stumbled upon this band through a list of recent album releases, and right from the start, I had a feeling it was something I was going to really enjoy. The overall sound has a strong 90s Britpop vibe, echoing the era when Britain was musically front and centre, with bands like Blur, Oasis, Manic Street Preachers, and Supergrass leading the charge. There’s a familiar energy here that captures the spirit of that time without leaning too heavily into nostalgia.

The album opener, “Something To Tell You,” bursts out of the gate with a roar. The band hails from Essex and London, and that regional identity is unmistakable the moment you hear the lead singer’s voice. His relaxed, almost nonchalant delivery gives the track a certain swagger. Some listeners might find it effortlessly cool, others might find it a bit grating, but whichever way you lean, there’s no denying it’s infectious.

With a change in mood, “Ever So Clear” shifts into more anthemic territory. It carries undertones of Oasis, but without the dense, layered production. There’s a looser, more stripped-back approach that gives the song room to breathe. If I’m being honest, it edges slightly toward the whinier side vocally, but it still holds its own. There’s an emotional sincerity that might strike a chord with the right listener.

“Monster Munch” brings us back to the formula that, for me, defines the heart of the album. It’s a storytelling track packed with character and charm. The vocal delivery hints at Blur’s Parklife, but with a drier, more understated tone. The chorus offers a catchy and satisfying refrain, and it might just be the strongest track on the record. That said, I can’t let it slide without mentioning the Pickled Onion reference — everyone knows Roast Beef is the best flavour of Monster Munch.

The band might not thank me for this, but when "Unbelievable" first started, I couldn't help but think of Coldplay. That initial comparison faded quickly as the track found its feet. It’s a good song, but not one of the standouts for me.

“This Time” then takes us somewhere darker. The musical backdrop has a more brooding feel, with the chorus providing the song’s lift and emotional payoff. It’s a good shift in tone, showing another dimension to the band’s sound.

From there, “Buy The Thingy” introduces yet another change in pace. This one trades urgency for a more laid-back, plodding groove. The vocals are smoother and more melodic, offering a softness that contrasts nicely with earlier tracks. The violin accompaniment is a lovely touch, adding texture and warmth without overwhelming the arrangement.

“Middle Finger” brings us back to the underlying vibe that runs throughout the album. While it offers some musical variation, it doesn’t stray far. Instead, it builds on the core sound, adding extra tones and flourishes that feel like a natural extension rather than a departure. It reinforces what’s already working rather than trying to reinvent it.

The next two tracks, “Dread” and “Everything,” continue to layer in additional texture. “Everything” in particular carries the same kind of reflective, wistful energy you get from Oasis’ “Half the World Away.” They’re gentler songs, introspective but not detached, adding subtle emotional depth to the latter part of the album.

“Leaving That Alone” is the one track that didn’t quite land for me. It’s mellow and easygoing, but it feels more like a B-side experiment than a track that belongs in the main lineup. It’s not a bad song, just slightly out of step with the overall flow.

The penultimate track, “Name On The Wall,” keeps the slower pace but adds a chorus that feels almost angst-driven. It injects just enough energy to create a sense of momentum and emotional build-up, making way for the final track.

“Waiting On A Day” opens with a few gentle notes that immediately feel like the right choice to close the album. It brings a thoughtful tone, creating a sense of resolution and rounding things off on a reflective, satisfying note.

Reading this back, it might come across as if I’m lukewarm on the album, but that couldn’t be further from the truth. It’s clear the band has rich musical tastes, rooted firmly in the classic Britpop era. For me, that’s a real strength. Being of a certain age, I lived through those years, and they remain fresh in my mind. I tend to pick up on those influences and, rightly or wrongly, like to point them out. I think it helps give others a clearer idea of whether this is a band they’ll want to explore.