One of those long-awaited lockdown albums is finally upon us.  Jack and Wayne have to deal with a lineup change and lockdown mania gnawing away at their mental health it was always going to be music that could set them free and focus their attention and with the pandemic may be a chance to gather their thoughts and be where they needed to be.  So they set about creating Their next album ‘Love No Less Than A Queen’. An epic journey with an epic record.

Was it really 2017 when ‘Swansea To Hornsey’ came out? Wow, time flys I guess, fast forward four years (and the compilation ‘Pick a Pocket’), Three flaming years!

After the opener ‘Gotta Do More Gotta Be More’ has twisted your melon with its psychedelic twisted groove you know you’re in for a ride. It’s like hitting the Kingsway in a stolen punto with the Lewis boys doing 90. But rather than soaring a Cobain like acoustic drags you towards a drum loop but you’re carried on a great safe melody from Jones as the chorus hits and we’re off.


‘The Misadventures Of Lord Billy Bilo’ is sandwiched on either side of two absolute belters with ‘Oh Lover’ and ‘No Love No Kisses’ is the sound of a cheeky grin from the classroom clown who likes to play the joker card at every opportunity so as to not pin him down to what’s really going on, hell, its only Rock and Roll amigos it’s not like anyone has to die. The album has barely started and already we’ve been taken on an album masterclass of twisted beauty where pop meets rock via an indie alternative groove where Jack Jones works his poetry and lyrics as the musical backdrop ebbs and flows.


Jack does what he wants and what pleases him and I like that aspect of Trampolene the others trust him and assist in whatever way.  He’s not dancing to anyone’s tune and finding his way into any specific genre or trend. The band sways from Britpop to grunge with effortless ease.  The opener is like what Cobain would be coming up with if he hadn’t checked out.  The band operates along the same lines as a Bobby Gilespie fucks with people’s heads on Primal Scream records or Burgess does when he makes a Charlatans album.  There is also a heady dose of Velvet undergrounds and their bohemian New York scene for good measure.


‘Remember’ sees Jones veer down a Morrissey route but Morrisey never sounded this good. ‘Uncle Brians Abbertoir’ is another gentle interlude that Jones gets by with a little help from his friends and some great observations listed as a stream of conciseness.


The Single ‘Shoot The Lights’ plays with 80s pop-rock and succeeds in being a real grower with a chorus Jones will happily let the audience have lift off with live. There’s a haze around this album with moments of real clarity where you think you’ve struck pop genius and moments of utter chaos and confusion but all in a good way.  The gentle wheeze of  ‘Lighter Than Paper’ is the work of someone feeling vulnerable yet strong in the ability to pen great songs that will resonate over time and the album will get better and better on repeated listening.  An album with depth and throwaway pop in equal measures is a gift and one that will work on several levels depending on the listener’s mood


With ‘Perfect View’ there’s a triumphant knowledge that this album is rather bloody good.  Come along for the ride my friend there’s plenty of room in the back, it’s genuine quality that exudes happiness and hope. The treated lick of ‘Born Again’ is a joy as it builds into a heaving ball of volume and sweat before dropping back into the groove.


The album ends with another poem ‘Come Join Me In Life’ so much to say and saying it so well come on join us down the front and bounce around to Trampolene and their class sounds, come on while you still have a chance put on your trainers and lets join the dance.



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Author: Dom Daley