The Anorak Band are one of the more interesting and unusual artists that I’ve stumbled upon over the last month or so, and their debut release – an old school double A-side single, no less – is an utterly charming, double dose of 60s-influenced instrumental surf jazz that feels weirdly timeless. Based in Newport, the four-piece band led by Sam Roberts combine 1960s surf and chamber pop with a modern aesthetic. Before going any further it’s also worth mentioning that the proceeds from the single go to the Trussell Trust – a charity working to stop UK hunger and poverty. Aside from the single being great (hence me taking time to write about it) it’s all the more reason to head over to Bandcamp and grab a copy. It’s more than worth the £2 price (more if you wish) and your money will be going to a worthy cause.

The first track – titled in both Welsh and English – is Y Gath Fôr / The Stingray. As I can just about get my head around thinking, speaking, and writing in English, I’ll stick to The Stingray from here on in. The shorter of the two pieces at just 2:10, it opens with a frenetic drum pattern that paves the way for washes of tremelo guitar and some warm Rhodes piano. For me, there’s a hint of OK Computer-era Jonny Greenwood in the sound of the high octave guitar lines – reminding me of tracks like Subterranean Homesick Alien or The Tourist. Often I’ll have an image spring to mind when I listen to a track for the first time, and usually it’s an image that will then be stuck forever. In the case of The Stingray, it’s the late Joe Meek producing an instrumental Radiohead b-side in 1997. I totally mean that as a compliment. Anyway, that’s just the first minute; what then follows is an unexpected shift into a slow jazz break. It’s really effective, kind of like stopping to catch your breath after running flat out for five minutes. Beautiful chords ring out, elevating the track to loftier heights, before the original drum figure returns and the song makes a U-turn back to where it started.

Y Crwban / The Tortoise follows, and is a different beast entirely. For a start, it’s almost twice the length at 3:56, but overall it’s a slower, more sedate experience. That’s not to say it’s any less thrilling though, but rather that it operates in a different way. Whereas The Stingray is a more aggressive and bursts out of the starting blocks, The Tortoise opens with a gently plucked guitar progression. It’s really lovely too, with a warm tone and a feel that is something like an unused instrumental backing track from Pet Sounds. Before long, the drums kick in with an exceptionally laid-back groove and things begin to open out. For the middle, everything but the guitar drops out as it plays through a twisting series of arpeggios. It’s a compelling and unusual progression, and one that leads us into the final third of the track. As with The Stingray, we’re soon back at the point where we started, before the song ends and the sound of an audience can be heard cheering. I’m not sure about both tracks, but there’s certainly a ‘live’ feel about The Tortoise – with a sense of bleed from the different instruments and the way the track is bookended by audience chatter and applause. Regardless, it’s impressive stuff all round – and with the sound of the Rhodes running through an amp – not unlike hearing the Beach Boys playing Meddle-era Pink Floyd.

In short: I really like this release. I’ll be honest in saying that I’m not familiar at all with the work of either Hailu Mergia or Max Roach – two artists that Roberts openly namechecks as influences – but it doesn’t matter at all. There are plenty of ideas kicking about that blend together into this weird concoction that is The Anorak Band, and they make for an interesting, accessible listen. Yes, they’re using vintage gear and making music in deference to the ‘golden age’ of the 1960s, but the thing that makes them stand out is just how fresh it all feels. I’m really taken with it, and it’ll be interesting to see where they go next.

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You can find The Anorak Band on Instagram and Facebook. Also, visit their Bandcamp to buy the single (proceeds go to the Trussell Trust).

* This release was discovered via Musosoup. A small fee was paid in exchange for publication, and the entirety of this fee used to purchase the single. See ‘About / Contact’ page for more details.