ASCEND WITH HEAVENLY’S ‘HIGHWAY TO HEAVENLY’
Twee-punk legends HEAVENLY ended their 30-year album drought on February 27th with the release of HIGHWAY TO HEAVENLY, an eleven-song album that proves the group hasn’t lost the jangly, upbeat sound that made them special in the first place. The band has found recent acclaim with the resurgence of their 1993 EP ATTA GIRL on social media–more specifically through the song "P.U.N.K. GIRL". The new album is a modern spin on their classic British indie-pop history, including enough new substance for it to be a significant addition to their discography, but not an extreme departure from the genre they helped to pioneer.
They’ve kept their spark to the point that even the album cover is indicative of the band’s retained whimsy: their logo’s retro lettering is adorned with daisies against a vibrantly muted abstract background.
"SCENE STEALING" is characteristically Heavenly, heavily reminiscent of older releases like “Hearts and Crosses”, featuring dark lyrics adorned with pop instrumental accompaniments. The song works as a social commentary on the predatory culture around the music scene that’s persisted since the band’s prime in the ‘90s–there’s a hidden frustration behind lead singer Amelia Fletcher’s lyrics as she grapples with the idea that the issues she grew up with remain. It’s followed up by "PORTLAND TOWN", a song about the search for social liberation. Portland is used as a symbol for misfits, a place where the black sheep of the world can gather and evade the judgment of greater society. Ironically, despite being lyrically lighter than "Scene Stealing”, the backing instrumentals of Cathy Rogers’ keyboard, Peter Momtchiloff’s guitar, Rob Pursey’s bass and Ian Button’s drums are significantly harsher.
Pursey’s bassline leads in "PRESS RETURN", a song that pokes fun at the idea that power makes individuals immune to criticism and consequences, possibly written as a response to the man in “Scene Stealing”. Despite the subject “living as king,” the group knows that he’ll still eventually “crash and burn.” The track also features Heavenly triumphantly singing their return–while the man they’re singing about suffers from his actions, the band boldly declares that they “will be coming back!” The next song, "SKEP WAX"—named after the label the band released the record on–seems to similarly reflect on the group’s return, referencing their journey throughout years of releasing music together. The track is bittersweet, as Highway to Heavenly marks Heavenly’s first album without original drummer Mathew Fletcher, following his death in 1996.
"DEFLICTED" is one of the most sonically complex songs on the album, with Rogers’ synth creating an ominous atmosphere before the lyrics take over. Track six, "EXCUSE ME", leans more into the punk territory of the band’s twee-punk niche. The intro is ska-adjacent before breaking into a raucous melody. Almost otherworldly, "A DIFFERENT BEAT" starts with powerful instrumental effects–I can’t tell if the band used a synth or guitar pedals to create it! It’s another deceptively happy song about an abusive relationship and power dynamics, with the leading lady growing taller both literally and metaphorically as she stands up to her oppressor and slips into high heels to dance her concerns away. "GOOD TIMES" is another complex track, both instrumentally and through the intertwining of Fletcher and Rogers’ voices. It’s once again reminiscent of the group’s past, perfectly reflective in the context of their return.
"THE NEVERSEEN" details a failing relationship, drifting apart in pursuit of the “neverseen”. The song can be interpreted in a multitude of ways. Is the “neverseen” representative of drugs, fame, money, or something else? Second to last on the album, "SHE IS THE ONE" is about a fiercely independent woman, one who’s content with her own company, falling in love for the first time. My favorite part about the song? It’s egregiously British, with the subject managing to have “beans on toast,” “tea,” and boiling water in a kettle all within the same track.
At the time of writing, the closing track, "THAT LAST DAY", is the least played song on the album, which seems to undercut the record’s purpose entirely. The song reminisces on the past, marking a bittersweet ending to a triumphant comeback. The drums build urgency behind the lyrics before the song breaks with Momtchiloff’s guitar, transforming into a Sonic Youth-esque noise track. Button’s drums are at the forefront, adding an emotional twist to a song clearly written with original drummer Mathew Fletcher in mind.
Overall, the album is a wonderful return for Heavenly and a new discography staple. Given the resurgence of indie-pop throughout the 2020s, it’s inspiring to see the return of a classic band that’s paved the way for many modern ones. Highway to Heavenly is a step from the band’s previous releases–enough so for it to be an entertaining addition, but not too far so that it seems disjointed from the soundscape they’ve held for over thirty years. The album isn’t supposed to reinvent the British indie-pop wheel, just remind audiences who created it in the first place.