Album Review: Inheaven by INHEAVEN

The jangled drum intro of “Baby’s Alright” feels familiarly close to ‘90s Britpop revelations, while follow-up “Treats” has a similar attitude with guitars that completely enthrall and engage the part of you that refuses to take anything sitting down. Even the vocals throughout are consistently filled with a disengaged attitude that both Chloe Little and James Taylor manage to equally snarl. A complete throwback to everything that’s been missing for over twenty years, INHEAVEN have blown the cobwebs off and are ready to kick some life back into a stale scene. .

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Londoners INHEAVEN have so far built their reputation on being a fierce live band, their grungy power-pop purpose-built for spilling over from stage to mosh pit, with raging riffs, and passionate lyrics made for being yelled back at the band from those in front. The risk is, of course, for any band in their position - and especially those on their debut - is that not translating to their recorded selves. That.

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We’re lucky to have INHEAVEN. Not just because the south London quartet are establishing themselves as indie’s most dangerously exciting debut-album-darlings (see ya, Wolf Alice), but because they nearly never existed at all. “I wouldn’t have even put our music out,” singer James Taylor told NME last year. “I was happy writing for no one”. At the insistence of friend and now-bassist Chloe Little, the group were conceived in 2015.

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Close your eyes and imagine it's 2007 again. You're at your local indie disco haunt and they're playing all your favourite classics from the decade — The Libertines, The Strokes, Arctic Monkeys. Indie rock is still cool and everyone is clad in its shabby chic uniform. Then the debut album by INHEAVEN comes on and you don't bat an eyelid.

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