Blue Violet’s ‘Faux Animaux’ is beautifully adventurous

London-based alternative and indie duo, Blue Violet, consisting of singer Sarah McGrigor and singer/guitarist Sam Gotley, will shortly release their second studio album, Faux Animaux. Comprised of 11 songs, a few of which have been released over the past year as singles, this album experiments with synthesiser-based arrangements which is an ambitious and refreshing decision. This proves to be a part of a rich collaboration with mixer Hannah Peel and producer and mixer TJ Allen.  This choice veers away from their musical style in their 2022 debut album, Late Night Calls, which had a rock/pop-centred composition with drums, guitars and bass.

Blue Violet has a trademarked originality—their music often marries intricate, atmosphere-driven soundscapes with impressive lyricism. Some of their previous hits include ‘White Beaches’ and ‘Rabbit Hole’, both of which have upwards of 100k streams on Spotify, with other favourites from their discography being ‘Undercover’ and ‘Halo’ from Late Night Calls. While Sarah McGrigor delivers an impressive range of vocals, from soft and breathy to intense and full, Sam Gotley provides impressive guitar riffs and rich baritone vocals.

Faux Animaux starts with ‘Sweet Success’, released as a single on 8 January 2025. The arrangement of this track is heavy with dreamy and hypnotising synth-based instrumentation. New expectations are being set immediately. Thematically, this song is compelling, discussing the almost addictive and trance-like qualities of success. McGrigor and Gotley comment on their composition, saying: “Indeed, the arrangement speaks to the lyrical meaning of the song, mainly through a retro 80s synth-pop sound and the masking on top of McGrigor’s vocals. Both effects sound robotic and at the same time, alluring.”

‘Boogie Shoes’ is deceptively upbeat, channelling a similar hypnotism as that of ‘Sweet Success’

‘Talking To You’, on the other hand, starts slow, with a reverberating bass, crisp drums, and high-pitched vocal synthesiser. McGrigor complements this with raspy and breathy vocals. The lyrics are simple, yet heartfelt: “I’m talking to you/ trying to get through”. The chorus introduces a lingering guitar, oscillating keyboard synthesiser and ascending strings in the background. The atmosphere is well-textured and conveys a dreamy yet emotive sound.

The next track, ‘The Librarian’ begins with a pulsating synthesiser, accompanied by Gotley and McGrigor vocalising. Their voices meld together, facilitating a timbral richness, where McGrigor’s soft and tender vocals beautifully contrast with Gotley’s raspy and baritone voice. The lyrics speak to feeling aimless and how to make the most of what one is given, with words like: “This life keeps giving me everything/I keep turning lemonades to lemons again”. Simple, yet hitting the right spot. At the 3-minute mark, smooth strings are introduced into the arrangement, which fuses with acoustic guitar and drums, shaping a truly well-rounded song.

‘Boogie Shoes’ is deceptively upbeat, channelling a similar hypnotism as that of ‘Sweet Success’. The lyricism here is masterful, with great lines such as: “back to the city where the heartbeat’s hard and the soul is a black hole eating the sky”. The verses present a spoken-word style sound, while the chorus is upbeat and rich with electric guitar and drums, providing thematic contrast and making the song thoroughly entertaining. It is worth mentioning the cover art for this track, a haunting fusion of high-heeled shoes and a person’s feet, speaking to how in a race to fit in, one becomes the race, thus losing their individuality.

Faux Animaux is an impressive and captivating album in which arrangement, instrumentation, and lyricism complement each other

‘Teeth Out” starts off with a more acoustic and slow sound, reminiscent of Late Night Calls. The lyrics are vulnerable and raw: “And I tell you that I need some space/ Then I cry when I can’t find your face”. Thoroughly fitting for slow dancing or philosophical conversations on a road trip. The song is also an excellent bridge between Blue Violet’s previous and new sounds. An indication that we’re going home, if only for a fleeting moment.

Lastly, the final and also the titular song, ‘Faux Animaux’ is a personal favourite on this album. It feels crucial to ascribe equal levels of importance to the first and last tracks of the song. While the first song sets up expectations, the last song is tasked with being the finale—the lingering memory the listener would associate with the album. The bass line here is addictive. The lyrics are defiant, speaking to change: “I’m not your fool anymore, fake animal”. An impressive shift in the arrangement is introduced at the third minute, with clock-like drums and dreamy vocals. Around 3:30, this simmers down, with a soft piano sound, as high-pitched strings linger. Gotley sings over the piano, with his signature baritone. The lyrics are honest, scared and raw: “Only the lonely can console me and find me when I slip away”. The song ends slowly, minimally. Arranged aptly, no instrument overstays its welcome, and not much is left unsaid.

Faux Animaux is an impressive and captivating album in which arrangement, instrumentation, and lyricism complement each other. A great addition to Blue Violet’s discography, the full album will be released on 24 January 2025, along with a sold-out launch show in London on 25 January. A personal recommendation, Faux Animaux would go great with hot chocolate and introspection.

Recommended listening: ‘The Librarian’, ‘Teeth Out’, and ‘Faux Animaux’

★★★★