Scanners - Submarine

Scanners seem to be old timers on the music circuit. Formed initially in 2004, by Matthew Mole and Sarah Daly, the final line-up was complete with the addition of Amina Bates and Tom Hutt. They’ve supported the likes of Mystery Jets, The Horrors as well as Electric Six and Juliette and the Licks. Hailing from London, Scanners seem to have reversed trends by making a bigger mark on our friends residing at the other side of the Pond, being well received at SXSW and having their music feature on many popular American shows from One Tree Hill to 90210. Submarine marks the second offering from this, dare I say, indie rock outfit.

Album opener, ‘Jesus Saves’, is an inoffensive jaunty little number which never quite convinces about its question our life and mortality. It has enough going on to keep you tapping your feet along and even compelled to continue listening, but like ‘We Never Close Our Eyes’ which ventures into the world of nice and sweet, both seem to lack any real vigour.

It’s clear to see why ‘Salvation’ would have been used on the uber stylish Gossip Girl, encompassing the melodrama that often surrounds such shows. That is not to say their music is clichéd – well, it may be, but if pulled off the way Scanners have, well you can forgive it for playing into such well trodden, yawn-fest territories . Yes, this is quite brilliantly produced.

‘The Day That Was The Day’ is a pleasant breeze whilst ‘Strangelovehate’ has an hypnotic atmosphere and depth. ‘Goodbye’ feels like an album filler whereas ‘Half a Mind (Dreamer Forever)’ has a scuzzy, dirtier sound, though perhaps too much going on as Daly’s vocals get somewhat overshadowed. ‘Halfway Home’ is a fitting end to an album which plays with tempo without venturing too far from its overall sound. The rhythmic drums, backing vocal keys and guitar compliment Daly’s dulcet tones.

Scanners may not change the face of music as we know it, there is nothing to see here by way of innovative musical direction but ‘Submarine’ is a strong offering in an often saturated genre. The strengths lie in Daly’s voice, which at times, feel under-utilised. The vocal stylistic touch akin to the likes of PJ Harvey , Karen O et al could surely never be a bad thing as Daly exercises her range and emotion. Her vocals veer seamlessly, snarling in the right places, plenty of attitude with a healthy helping of the sweeter, melodic tones. With word of a third album underway, let’s hope instrumentally they can put out something that doesn’t feel so rigid in its style and suitably exploits the talents that lies in Daly’s vocal chords.