A foreword from The Underground’s Lee Barber:
What a year 2024 is turning out to be for Camens already. Stoke avoid relegation, Leicester win promotion back to the Prem*, and now they’ve just dropped the hopeful chart entering their debut album, literally years in the making. And I could not be happier for them. What a great bunch of lads. Always happy to chat, always find the time to reply to a message or a comment on social media, each one of them lads this city can be proud of.
The album puts Camens up there with the likes of The K’s and The Clause for sure, Scott Powell proving himself repeatedly as one of the finest songwriters in the area right now, and as I sit writing this, I consider the position Stoke’s music currently finds itself thanks to the enduring determination and creativity of bands like Camens. I have written about Formal Sppeedwear’s performance at The Underground on Thursday, May 2, and sandwiched in between that show and Your City 2024 on Saturday, May 3, lies the massive Camens album release show at The Sugarmill, equally as important a show as any this year in the area.
What a weekend. It’s a weekend which leaves me full of hope for our music, Camens another band leading the way, smashing down those barriers which somehow still keep our musical city hidden away. Stoke-on-Trent’s centenary is coming up in 2025, and bands such as Camens are leading the way for the city’s music as we head towards celebrating our 100th year as an official city, and so must we make the most of celebrating the bands working endlessly to fly that musical flag for us all. If ever there was a call to arms for music in Stoke-on-Trent and Staffordshire, here it is. Now go get Camens on the official chart and support the lads all the way!
*Guitarist Corbs is a Leicester fan, for his sins…
WORK/LIFE/BALANCE review from The Leopheard’s Bethan Shuff
Real and relatable, alt-indie collective Camens has finally released their highly anticipated debut album, WORK/LIFE/BALANCE – and it’s well on track to hit the UK independent charts.
Born out of long nights in freezing cold practice rooms, struggling to find time away from the daily grind to be creative, they’ve channelled their frustrations into their music. And following over a year of hard work, dedication, graft and gigs, it very much feels like it’s all about to pay off.
Over the past few years, Camens have captured the attention of audiences across the UK and beyond with their energetic live shows and relatable lyrics, building a real sense of community through sophisticated 2000s guitar tones and a sense of nostalgia. You only have to take a look at the packed out Sugarmill for their album release party on Friday, May 3 to see that. Taking inspiration from bands such as Interpol, Vampire Weekend and Weezer, Camens walk the line between time-honoured rock n’ roll and modern indie pop, topped off with a dash of northern realism, all of which is present in this seismic release.
The 12-track LP, recorded at House of Chella in Manchester, founded by Stoke’s Andy Gannon, is set to be a real milestone release for the band. Immersive and universally relatable, its narrative tone and vibrant imagery really brings it to life. Frontman Scott Powell has previously told The Leopheard: “I love the idea of creating worlds with words and then trying to pick the listener up and take them there” – and this is something that really shines through in the album.
The album kicks off with Cynical, which is nothing short of a full-on indie anthem that grabs you with both hands, and reels you in with an infectious energy, powerful vocals, and a soaring chorus you can’t help but want to belt out along with the band. Pummeling drums are met with blistering guitar solos, which provide the perfect backdrop for Scott’s passionately delivered lyrics, immediately setting the tone for the rest of the album, and with it, the bar of expectation high.
With Poltergeist, Camens take a more introspective turn, haunting listeners like a vengeful spirit through a series of melancholic soundscapes, moody basslines and guitars that glide through the track to eerie, echoey harmonies. It’s such a dynamic and unpredictable record that really takes you through a range of emotions.
Lying Won’t Get You Anywhere is where we start to really see the album take shape with themes of love, relationships and breakups. For me, it’s a standout moment on the album, blending catchy melodies with emotionally-charged lyricism that cuts straight to the heart for an indie-pop hit, while Outlines combines elements of synth-pop with their signature guitar-driven sound for a grooving number that is impossible to resist.
The explosive and lyrically fun Confetti & Kalashnikovs follows, exploring the ups and downs of relationships with a poetic flow and playful contrasts. It’s a track that really showcases Camens’ Northern charm, creativity, and slick sound. Lyrically, it’s got a gorgeous poetic flow to it with words that feel really punchy in your mouth, and are incredibly fun to sing along to, particularly phrases like ‘in a back street molotov cocktail bar’. Each word feels carefully chosen, and the witty contrasts of light and shade is a real testament to Powell’s songwriting abilities.
There’s an immediate intimacy to Slept On The Sofa, where you can hear the muffled conversations of bandmates in the studio as the track begins. It’s a record that sees Camens exploring more emotional territory, striking a balance between vulnerability and hope. Scott’s storytelling is masterful, to the point where you can almost see a music video in your head – visions of a heavily used leather sofa and the puddle in which he’s parked. The track builds to a powerful climax, showcasing that this is a band unafraid to explore heavier tones to match the weight of the lyrical content, ending on a rumbling bass note that rings out, taking us nicely into perhaps the most unexpected album on the record.
Salt is a beautifully crafted piano ballad that highlights Camens’ versatility, with not a single record on this album bearing a resemblance to another. It’s warm, radiant, reminiscent, and has you wondering if there’s anything these lads can’t pull off?
Sleep Patterns Repeating almost immediately answers that question, taking yet another unlikely approach with 00s riffs and a Bloc Party-esque vibe. The drum work in this is particularly tasty, the track’s intricate instrumentation and driving rhythm create a sense of urgency that keeps you on the edge of your seat from start to finish.
Injecting a dose of humour into the album, Danny DeVito is a fun and energetic romp that showcases Camens’ playful side. It’s an old fan-favourite for sure, so any loyal Camens listeners will be thrilled to see that it made it onto the album.
Uptempo and high energy Do You Remember? is a heartfelt indie love song that captures the bittersweet nostalgia of lost romance, beautifully contrasting the much slower Leave It For Now, which together really show the ups and downs of relationships with universal relatability.
Closing out the album is On The Walk From The Picturehouse – a cinematic off-kilter indie hit again boasting incredibly sharp verses and a huge hooky chorus which lends itself to radio spins and live performances in equal measure.
Scott Powell said: “The song plays around with the idea that seeing someone you like and then taking them out can be similar in many ways to seeing a trailer before you watch a movie. In both situations, it’s not until you take the plunge that you’ll know if you both “click”, or if the film is all you hoped it would be.”
It really is a triumphant conclusion to an album that showcases Camens’ talent, versatility, and commitment to their craft. The record on a whole is entirely unrestricted, cathartic and highlights the band’s multifaceted sound and storytelling prowess.
