I have followed the fortunes of Derry’s Cherym ever since, when nominating for the Northern Irish Music Prize in 2019, my co-conspirator, Julie Hough (HAVVK, PostLast), put me onto them. That year, they picked up the Oh Yeah Contender award, having burst onto the scene in 2018 with ‘Mouthbreatherz’, followed by a string of punchy, melodic singles. What binds that back catalogue is hook-laden, catchy tunes, almost cherubic vocals, and an unapologetic message.
That steady build has led to their debut full-length record, ‘Take it or Leave it’. In many ways, the record is an extension of what’s come before. But there’s a discernible evolution in terms of arrangement and soundscape, and this offering is a blast of high-energy pop punk in the vein of Hey Monday and vintage Fall Out Boy, with shades of bands like the Go Gos.
When I say that it’s easy to imagine Cherym playing in the background of a party scene in a 90s classic such as Ten Things I Hate About You, I really feel that encapsulates the essence of the Cherym sound. None of these songs would be out of place in the best of Avril Lavigne’s back catalogue, and melodically the songs happily sit alongside other smart, knowing, guitar-driven pop like Paramore. These are solidly written, deceptively simple songs – it’s hard to make things sound this effortlessly ebullient.
Lyrically, the album ranges from some blunt observations about incel and misogynist culture (Alpha Beta Sigma) and lack of understanding of queerness and gender (The Thing About Them), to more on-the-nose ruminations about the push-pull of dysfunctional relationships, to more frivolous content such as ‘Taking Up Sports’, the latter of which benefits from a bright, singalong melody, an anthemic chorus, and some well timed hand claps. It’s easy to say that the songs with the more overt political messaging pack more of a punch, but actually the variation in tone means that those songs that do venture into more serious lyrical subjects have a stronger impact.
The uplifting, boisterous, catchy pop sensibilities of the melodies belie the seriousness of the messages the band are often conveying. In fact, it’s perfect fodder – allowing the fun and the serious to co-exist very peacefully. The very best of this comes halfway through the record, in the form of Colourblind. An unusual choice of key, a slow build bridge and an explosive chorus, coupled with an excellent vocal, make for a perfect slice of pop. This is all complemented by dynamic guitar hooks, some subtle and well-placed solos, and driving drums. The vocals won’t be for everyone – there’s a sugary, almost trans-Atlantic quality to some of them, but they in the main complement the music, coupled with very sweet, layered harmonies.
The album comes in at a very concise 33 minutes, but the band pack a lot into that short space of time. There’s barely time for breath before each track kicks in, and the tracklist is cleverly organised to unexpectedly switch up tone and pace, preventing things from becoming in any way one-note. For example, bold and brash ‘If I Was A Man’ is followed up by ‘Binary Star’, a welcome change of pace, with a plaintive, vulnerable vocal, with a slow build to a wall of sound with swirling strings.
Album closer It’s Not Me It’s You calls to mind a very happy hybrid of Avril Lavigne’s Girlfriend and New Found Glory’s My Friend’s Over You, and the result is greater than the sum of those influences.
Overal then, a welcome addition of the pop-punk canon, with something to say. It’s a satisfying listen and a strong statement of intent.
