The Parlour showcases Picture Parlour's explosive variety

On their debut LP, they justify the hype that has been building for the past two years. Describing the album as a jukebox, which is certainly apt, with influences ranging from Northern Soul to psychedelia and 70s rock n roll.

“Cielo Drive” captures the rock n roll influence in an explosive cocktail, Katherine Parlour’s vocals stretched and capturing something rough and ready. The dirty riffs recall their 70s influences, including T. Rex and Patti Smith. It is an expansion of the sounds the quintet has dabbled in on their eps and really sets the tone for what is to follow. There is an irrepressible energy that is palpable across the LP.

“Who’s There To Love Without You” also leans into a similar incendiary atmosphere, almost punk-like and full of swagger and verve. It is the sound of a group full of confidence and now bringing it to the masses.

While the group’s EPs leaned heavily into baroque sounds on the likes of “Judgement Day”, there is certainly more variety here. “24 Hr Open” is full of angst and dirty riffs; its grungier sound is a departure, but one Picture Parlour slips effortlessly into. It is to their credit that they do not rely on tried and tested sounds and push themselves, often rising to the challenge.

There are shades of a more pop-rock, new-wave sheen on “Used To Be Your Girlfriend”, however, this quickly segues into something more feral. It really cuts loose in its second half, allowing the rhythm section to unfurl. This track really strikes a nice balance between a lighter side to the group’s sound and the rougher moments earlier on.

The more operatic, baroque influences are still apparent in places. Having drawn comparisons to Alex Turner, this influence is more readily visible on “Around The Bend”. It is a melancholic, slow burner that, rather than feeling at odds with other parts of the record, feels like a natural extension and keeps it from ever being one note. It shows that they are as comfortable with quieter, intimate songs as they are with swirling epics. It offers more of an opportunity for their musicianship to shine through.

In addition to more classic rock and baroque influences, folk rock certainly feels more left field, but “Ronnie’s Note #3” sees them veer more into this territory with acoustic guitars and strings the main focus, alongside Parlour’s vocals. It is one of the album’s highlights and an area that, while unexpected, feels right given the range of their inspirations. There is a richness to the storytelling, and while clearly aping Nick Drake and Leonard Cohen, it is shot through with Picture Parlour’s distinctive brand.

The inclusion of “Norwegian Wood” feels a tad out of place given that other EP tracks are absent, but it serves as a reminder of what made audiences fall in love with the group in the first place and why it remains a fan favourite.

The Parlour embodies all of what makes Picture Parlour a unique force. There is such a heterogeneous mix to their sound, yet it never losses their singularity, spark, and charm. There is a broad crossover appeal, and there is so much to unpack. They have taken the sounds of their EPs and expanded into something more expansive, without losing what endeared them to audiences. This is a thrilling, evocative debut that lives up to the hype.