With Cartier elegance, Beatles basslines and Eric Morecambe timing, Graystar know a thing about craftsmanship. Like an old watchmaker hunched over an oil lamp with Dark Side Of The Moon on repeat, the Edinburgh-based quintet create tunes of otherworldly beauty and refinement. In fact, with such immaculate taste, they could probably pick you out a nice sofa as well. "Free," the lead track on the bands latest ep is by far and away their best tune yet. Like a cabaret version of "Imagine," leisurely piano accommodates an ethereal world-weary vocal and deposits you in an ever-so-dreamy chorus that feels like an afternoon in a floatation tank. Theres some sophisticated Dave Gilmour space-blues along the way until everything finally fizzes with the warmth of a supremely laid-back rock god guitar solo that closes the proceedings like a much, much classier "Champagne Supernova." Simple, focused and feeling it with every note, "Free" is a nugget of spooky pop genius.
With homogenous indie-punk combos saturating the airwaves its somewhat refreshing to hear the sobering sound of Edinburghs Graystar. The bands Singles EP is far from original, it owes much to the sonic claustrophobia of the shoe-gazing era, but there is a naivety that charms like the ramshackle Alfie once did. Rather than churning out predictable laments that aspire to little more than myopic commercialism, Graystar has created an EP of beautifully poignant songs that gently etches its way into your heart. Free is as mesmerising and simplistic as Shacks Comedy, with a vocal dripping in sanguinity and fleeting keyboard that pines with desire. The band can borrow too heavily from their contemporaries, particularly on the Doves-inspired Freaks, but each track is wonderfully crafted and full of intrigue. It may not emanate from the trilby-adorning indie conveyor belt but this Graystar is sure to shine brightly this year.
The new single, the lovely acoustic ballad Cry No More, combines Spanish guitar, a deep resonate bassline and a smooth vocal, with the track beautifully underpinned by Tim Dyers subtle piano playing. Undoubtedly, this third single sees Graystar produce their best work to date. The second track here, though, is an unneccesary live version of the same track. Vocally, James has a hint of Tim Burgess about him, but, thankfully, unlike the Charlatans main man, it seems he can also produce in a live setting. And with more singles due, and an album promised for the end of the year, this should be just the beginning of a very special twelve months for Graystar.