Alex Matthew

Black Tiles have pleasingly matured since the release of their debut EP six months earlier but do they still possess the anarchic punky punch they previously packed so powerfully?

When I caught up with the group, over a couple of impressive and intimate practice sessions, a month or so after the release of their single, “Molly Marguerite” they couldn’t have been more welcoming or on better form. Unlike other younger bands they understand that modesty and humbleness is far more charming and appealing than the playful arrogance which too many now appear to aspire toward. “Black Tiles” aren’t wannabe rockstars, they’re a group of four quietly insightful and talented young musicians who allow their work to answer for itself.

Even with a potential record deal no longer seeming as distant as it perhaps once did, the four piece don’t appear to be particularly interested in the idea of commercial success. Instead they are correctly far more intrigued by how to continue improving and further refine their already distinguishable sound. The group strike you as one that will never be completely satisfied and are always willing to push the boundaries of their music to see just how far they can take it. It’s certainly a trait that will stand them in good stead for the future.

“In Forever”, their rugged but still charming EP was decorated with bouquets of cheeky and subtle humour, as amusing as it was deeply truthful. Shades of “Molly Marguerite” can already be seen beginning to blossom in the centre with the track “Frequencies”, yet on the single these pre-established ideas now feel more fully formed and properly refined which helps to craft a far more satisfying listen. The subtle lyrical humour of the EP also remains but is this time present in a more affectionate manner, as if O’Connor (Tilly - vocals and rhythm guitar) were gently teasing the subject of the tune in a playful manner.

O’Connor takes us on an intimate excursion into her childhood, spinning a tender tale surrounding the close relationship she shares with her younger sister whilst cleverly weaving in the humorous eccentricities of her youth such as the forbidden blue bubblegum the pair once shared. The lyrics are superbly emotive, compelling and warm hearted as the song almost functions like a short story in places with O’Connor conjuring up picturesque potions filled with vivid imagery a plenty! In fact one would not be surprised had she sketched out a piece of prose beforehand and extracted her finest phrases to serve as lyrics for this piece.

Of course whilst O’Connor’s sensitive songwriting and touching vocal performance is supremely admirable (comparisons of her engaging style will likely be made to “Wolf Alice” lead, Ellie Rowsell, but a far more apt and accurate comparison would be to Karen O of the “Yeah Yeah Yeahs”) the song would not possess such an entrancing and dreamlike quality were it not for the rest of the quartet’s fantastic abilities.

As is common in bands still not far off their inception, a change of personnel has occurred. After losing their bassist shortly after their EP dropped late last year “Black Tiles” were quick to recruit a replacement in the talented form of Mathilde Skjerpen Fongen. Naturally each bassist has a different style of play, Fongen spoke enthusiastically about learning to play Bass via the scales and how this directly impacts her style today when building off and complementing the foundations laid down by fellow band members. It’s both surprising and impressive how well she is already integrated into the band with her backing vocals becoming a key part in the progression of the band’s sound. If one had not known otherwise you’d be shocked to learn she hasn’t been a part of the four piece from the beginning.

Kieran Henderson (lead guitar) and Liam Watson (drums) both remain crucial members of the set up and having played with each other and O'Connor for years now, their strong chemistry proves to be a key factor in the success of the band’s sound.

Watson’s drumming is more subdued this time out compared to the fantastically ferocious sounds he unleashed on the debut EP. However credit must be given to him for the steady beat he crafts throughout which keeps the song perpetually moving forward and helps to prevent it tiring for the most part. He does not make an effort to steal the spotlight at any point but instead plays for the benefit of the overall song and as a result helps to further increase it’s quality. His powerful smashes and crashes are unleashed more so in the choruses and yet again serve to further enhance the quality of the rest of the group’s sound whilst also showcasing his strong awareness of his powerful sound and how best to use it.

Henderson’s tasty guitar riffs meanwhile retain their delightful funkiness whilst also feeling richer in their densely hypnotic sound quality. This could in part also be as a result of the production quality which hasn’t just taken a step up but climbed a whole flight of stairs, credits go to Mark Morrow Audio of Edinburgh who produced the single and evidently helped craft the hazy dreamlike feel the song radiates. Henderson’s playing is as infectious and tuneful as O’Connor’s charmingly nostalgic lyrics and he graces the song with a distinctly groovy vibe which ensures it does not lose strength upon repeat listening.

Your enjoyment of “Molly Marguerite” will most likely depend on what you feel a single should be. This is no “jump up and dance” anthem like many bands struggle to transform each and every song into. Instead the track serves as a nostalgic postcard from a now gone but still fondly remembered childhood. It’s a beautifully intimate affair, bursting with character which results in an enthralling picture being painted not only via O’Connor’s superb songwriting but through the rest of the band’s distinct sound too. At times the song feels a touch placid and results in one of the few occasions you long for some of the energetic and punky feel of the debut EP to reemerge. There may be shades of it running throughout but the raw essence of it is only faintly lingering as opposed to being fully present. It leaves you wondering where the band will journey to next, could they continue pushing this new sound further or is perhaps a combination of the two styles the answer to unlocking Black Tile’s full potential?

It’s undoubtedly an improvement on the first EP and a welcome leap forward for the talented group, albeit in a different direction. If you’re looking for a metaphorical comparison to showcase the difference between the two then the easiest place to turn to would not be fellow musical artists but those of the painting variety. The “In Forever” EP is like a Jackson Pollack, it’s messy and a bit all over the place but there’s something strangely captivating and joyfully energetic about it which keeps you returning for more. “Molly Marguerite” on the other hand is a Monet, an impressionistic dreamlike piece dripping strange and compelling beauty. It’s deeply personal to the artists involved and manages to pull off the trick of both appearing completely organic but also proving to be supremely well crafted.

“Molly Marguerite” therefore appears to be a pleasant steeping stone toward something far greater and as a result furthers the buzz surrounding the talented Aberdonians leaving one hungry to see where “Black Tiles” will venture next. If the rough demos I heard glimpses of during those few practice sessions are anything to go off of then it’s about time we cracked out that blue bubblegum because celebrations are soon going to be in order!