Upon first listen of The Vryll Society’s debut album, you will spend the majority of your time deciphering which artist reminds you of the guitar, which band has that psycho-pop shimmer or where that drum beat has been heard before? What is clear, is that this is a complex piece from the Liverpool five-piece. 

Released on Deltasonic Records, Course of The Satellite embarks on a fluid journey through a Tame Impala inspired utopia. Early releases have gained the band some serious attention, and rightly so, elevating this as the perfect material to make sure the heights of summer don’t dissipate into the ever-closer autumn.

The album is experimental without being detached and current without mimicking. The title track acts as a warm up before the rest of the album, with a stretch of fizzing synth and guitar coming under regimented drums. The electronic elements that perforate each song is where the quality lies. ‘A Perfect Rhythm’ drops a funky bassline that demonstrates the ambition to deliver something different while on ‘Glows and Spheres’ the best riff is thrown into the mix.

‘Tears We Cry’ speaks for the whole album, something so relaxed and stylised, but the highlight, ‘When The Air Is Hot’ is punctuated by infectious and omnipresent drums that march as spiralling guitars deliver the magic. ‘Light At The Edge Of The World’ is the psychedelic anchor this album needs, and ‘Shadow Of A Wave’ is the energy it craves. 

This is a tight piece, with some great moments. Where it falls short, perhaps, is the lack of distinction between tracks. At times, a tasty beat arrives only to peter out. This is a solid effort but begs for more punch.

The Liverpool scene is packed with great, yet similar acts, adopting the jangly dream-pop sound. The Vryll Society hail from the city, but it is easy to see the conscious effort they have made in standing alone. Given time, this may just be one of the year’s most dizzying gems. 

7/10