Blame Recordings releases As Blue As Indigo, the second full album by home grown Brighton-based three piece band Tigercub. After their 2016 debut, Abstract Figures in the Dark, and a nearly two-year string of popular live shows, and then a follow-up E.P. Evolve or Die, the trio were riding high. However, frontman giant Jamie Hall instead spent time on his own project – the Gonzoid Psych-Pop Nancy. The success of this earned him two record deals and another string of live dates around the world. But Hall, itched to return to Tigercub. For As Blue As Indigo, he explores colour theory and perception, as well as topics including anxiety, depression, the death of loved ones, toxic masculinity and suicide. He was forced into a COVID-19 lockdown bubble situation for recording, and the pressure led to a parting of the ways with Bushby and drummer James Allix. The proverbial difficult second album...

Having not previously come across Tigercub, I had no idea what to expect. As Blue As Indigo’s opening acoustic guitar and mellow but high vocals were not for me. Maybe someone who likes 1950s-style Jazz nightclub music… But I might have known I was being led into a false sense of security, because suddenly a full band sound bursts forth, not so much ripping aside what has gone before but encompassing the style with a heavy moderate fuzz-static. By not fitting into any one of the Rock/Metal sub-genres, they straddle a few, thereby somewhat creating their own. 'Sleepwalker' has a fuzz riff intro. There is heavy bass and a wired buzz. Good use of wave effects is utilised. This has a very melodic chorus, and is definite single material. 'Blue Mist in My Head' begins with a standard Rock beat, but is supported with a stop-start backing with a rumbling guitar and keyboard touches. It’s Psych-Pop in places. Heavy but catchy.

'Stop Beating On My Heart (Like a Bass Drum)' begins like a ballad, with vocals and hummed harmonising, which adds other elements for the second verse. Then the moderate slam of the band enters the arena. Again, very melodic. 'Funeral' is a tribute to a lost loved one. Another light acoustic number, with added strings and a whistled solo. It’s an emotional piece, incorporating an almost orchestral outro. Unfortunately, from this point onwards the album loses its strength and uniqueness. 'Built to Fail' has piano and peripheral guitar noise. It takes a while to get going. An attempt at atmosphere never really succeeds. This is the only track so far that I haven’t taken to. 'Shame' is a little dull, 'As Long As You’re Next to Me' has a Pop/Dance structure, and comes across as twee. 'Beauty' has an exciting opening riff but very soon goes off the boil.

'In the Autumn of My Years' goes part way to redeeming the second half of this release. It’s a ballad with off-beat chugging guitar and drums. There is a nice heavy band instrumental break, and a good melodic chorus. We are left with a sustaining echo. A game of two halves, you might say.

6

Ty Power