For Novelty Island, the comparison unfortunately falls into the latter category, often leaning dangerously toward copycat territory. The man behind the project, Liverpool-based Tom McConnell, whilst brimming with musical talent, for some reason seems to ache for a likening to the Fab Four.
Where the 1960s boy-band’s influence is strongest is in his vocals, but they’re neither affectionate nor ignorable. It’s too obviously imitative, too vintage. Reimagining music from the arguable 'golden age' of it is always a gamble and more often than not, unlikely to succeed. That’s not to say, however, that the music isn’t undeniably good – it’s just littered with so many Beatles references or similarities that taking it seriously becomes somewhat difficult.
If McConnell hadn’t decided to go balls-to-the-wall Beatles tribute band, the music could really have potential. Take “Bootlegs” for example – the most electronic track on the album is simultaneously the most interesting and experimental. It bridges that gap between the modern world and the world inspiring McConnell through a production approach more akin to Kevin Parker of Tame Impala. However here, it’s his own thing entirely. You’re able to hear the uniqueness in his voice without that Paul McCartney twang that consumes most of the record.
In fact, the final three tracks on the record carry the most strength and intricacy. It’s where McConnell allows himself to really shine through the cracks of that facade. The songwriting and structure of “Funny Little Rhythm” is altogether impressive, as it accomplishes something similar to what Declan McKenna did with 2020’s Zeros, where he successfully channeled the mood of David Bowie yet created something entirely his own. “Funny Little Rhythm” is what Wallsend Weekend Television really should have sounded like in its entirety. Instead, much of the album lacks the tender sincerity heard here, rendering it academic-sounding and ultimately forgettable.
The closer “Balloons” is another innovation in itself. Without necessarily losing the Beatles-inspired sound, McConnell achieves the coveted creativity associated with the band for himself through its intelligent progression and overall production – his voice feels less forced, and the music flows more naturally. You'd just hope that the balloon-pop sample at the finale signifies the end of the more pastiche sound.
Maybe it’s ahead of its time, or maybe it's decades behind it. Maybe, like the Beatles discography, you need to listen whilst stoned to 'really' hear it. Or maybe it’s just best to not try too hard to be like The Beatles, especially when the most promising music you produce as an artist is when you sound the least like them. The musical identity and the potential is all there, it just needs to be uncovered.
