The Mood Help Set The Tone With ‘Daisypicker’

Overgrown gardens are a staple of British terraces, especially in the suburbs. The busy proletariat do not have time for horticulture while trying to balance potentially more than one job, childcare, mental wellbeing and finances. 

The skyline of the former, industrial cities’ of England’s long-gone empire, have presumably made the stars feel like a reporter on GB News, forgotten. But these cities are now encircled by narrow meadows in formation of wildflowers. The Queen may follow in Victoria’s footsteps and request the curtains drawn in her carriage as she travels through the Black Country, but Charles would be lost talking to the dandelions. This scene is the closest thing to a feel-good summer film from Shane Meadows. 

Of course, there would have to be some relationship strife. To soundtrack the tormented lover sat on the broken trampoline, surrounded by shrubberies, look no further than The Mood’s second release ‘Daisypicker’. 

The Birmingham four-piece deliver a Brit-rock summer classic that is just waiting to rival Blur’s ‘Badhead’ when one needs to clear the air, escaping the city with a drive through the countryside of Worcestershire.

 

Following on from their debut release ‘Ultimate Indie Disco’, ‘Daisypicker’ is a poignant continuation of the narrative they’ve set themselves up for. Continuing to extol their talent for observational, witty lyrics; if their first single is about persuading a potential suitor to a poorly organised student party, then ‘Daisypicker’ is the hangover afterwards. The lyric’s of ‘Ultimate Indie Disco’ observe the goings-on of a party with such accuracy, you can’t help relate to the narrator’s desire to have a friendly face there. The opening lines of there second release, “You watch the flowers grow/Just to tear them apart” seems to suggest they wished they remained a passive observer. 

 

Produced by Gavin Monaghan, who has worked with fellow natives of the second city Ocean Colour Scene, ‘Daisypicker’ has the same potential for ubiquity with an Indie British summer as the Britpop icons’ ‘The Day We Caught The Train’. The echoed ambience of the dreamy guitars and even a glockenspiel allow this song to pass muster with the current crop of indie icons. 

 

The Mood have crafted a tune that sits comfortably alongside other indie British summer anthems. Many deride the current lack of uniform within the musical landscape, those who do, fail to grasp the 80s are dead and subgenres lost to evolution instead. Those troglodytes, who fail to enjoy the continued strength of the British alternative scene, fail to understand that the scene is a shapeshifter. It is chameleonic, forever changing its face. With its current guise, I have no doubt if ‘Daisypicker’ is anything to go by, The Mood will have no trouble nailing their colours to the mast. They may even help bring some of the ‘time gone by-ers’ out of their cave. 

 

Tom Pritchard

Image: Provided by band