Innovation and creativity often go hand in hand, and for it’s central to everything they do. Whether it’s the mod cars pop-up deep in Bermondsey, the abstract influences that run through their work, or the early days of being dubbed “London’s buzziest band”, this is a group carving out their own path, with debut album ‘1,2,3’ pivotal to it. In just over a year, the London four-piece of , , and have gone from chaotic, word-of-mouth shows around the capital to supporting Tame Impala on a sold-out arena tour. Backed early on by , who , they arrive at their first full-length with the confidence of a band that knows exactly who they are.
The album’s artistic direction was shaped by a mood board as unpredictable as the music itself, taking in everything from a sunburnt Kim Kardashian to a baseball-bat-wielding pope, Garfield and cartoon devils. It shouldn’t make sense, but somehow it does. Opener ‘Crowd’ sets the tone, bringing together sharp, glistening synths, avant-garde vocal cuts and a melodic drum pattern in a way that feels entirely natural. ‘Spit’ carries that energy forward, with dark, eerie vocals pushed to the front as chaos unfolds in the background.
Then comes ‘Screwdark’, the moment the album really comes into its own. Drawing on 90s hip-hop, it’s wrapped in a grandiose sweep, built around a chunky bassline, warped synths and a brass fanfare that announces the band’s arrival. ’11:30′ takes an unexpected turn, opening with what feels like a nursery-rhyme beat beneath muffled, scratchy vocals before slipping into jazzy keys and a belted refrain of “you were right, and I was so wrong”. Meanwhile, ‘Light Over There’ looks back to the RIP Magic of the early days, moody and melodic, with the same sense of purpose they’ve carried through to this record. Pushing forward, ‘Slacker’ offers perhaps their cleanest vocals yet, with infectious guitar-like rhythms giving way to futuristic synths and a breakdown lifted straight from the hardcore rulebook.
The middle stretch reveals a gentler side. ‘Crestfall’ opens with calming restraint, its downtempo melody and honest lyrics revealing the emotional edge of a band best known for its mashed-up ideas. ‘Loverboy’ rides a steady beat, its tambourine tones and classic drum patterns feeling distinctly , with hints of the Beatles and the Beach Boys, before giving way to a grungier ending. When run through RIP Magic’s synth-heavy filter, this becomes homage rather than imitation. ‘Rock’ is a full emotional ballad, pairing raw vocals with stripped-back bass and enchanting synths that feel both nostalgic and new, before building to a grand finish. Moreover, ‘End Song’ carries that emotional weight forward, adding fresh depth to a band whose early moments were so raw and brave.
Recent single ‘Stadium Drive’ is RIP Magic at their most inventive, throwing every idea into one place, big, fat drum synths against harpsichord tones, reverb-drenched guitar sounds and heavily warped vocals, all building to a finish where everything clicks into place. Closer ‘5words’ rounds off a champion debut. Opening with round-ringing drones, the track gradually gathers momentum through its repeated vocal lines. As it pushes on, the drums become more prominent, the vocals soar, the synths grow louder and it all comes crashing into life, delivering an iconic moment.
‘1,2,3’ is a restless, brilliantly playful debut that rarely stays in one place for long. A rock record without guitars, it moves between sounds and styles with an unpredictability that keeps you guessing, with its sharp shifts often feeling like being thrown into an entirely different world. That ability to pull together seemingly unrelated ideas and make them entirely their own is what makes RIP Magic one of the most exciting bands around right now.
7/10