Lunison’s debut EP ‘See Me As A Friend’ – released in 2024 – presented five tracks where a rock sound was twisted into some very interesting shapes. Its key cuts showed how varied the band could be: ‘Name 3 Songs’ managed to open with a riff that mixed garage rock and an almost post-grunge dirtiness, only to turn that on its head with a huge, melodic chorus full of ringing guitars sounding like a throwback to a great Gin Blossoms tune; ‘Smile, Cruel World’ borrowed from a couple of The Black Keys’ more groove-centric numbers, but added a more melodic vocal, again, calling back to a world of 90s pop-rock sounds, and ‘Velcro’ introduced a reverbed, 50s guitar twang in places, which set against a pumping bass and harmony vocals ended up sounding like a funky take on something from Arctic Monkeys ‘AM’.

Two songs from the release are reprised for Lunison’s 2025 album ‘Fakepink’. As part of a broader canvas, the rocky opening to ‘Name 3 Songs’ feels punchier somehow, and the fuzzy tones of the first riff contrast the vocal brilliantly. Although the slightly grungy/garage rock elements of the arrangement tend to dominate, Lunison really spring to life when the song allows for a jangly chorus to compliment a more indie-centric vocal. Using that as a springboard, the coda of the number introduces a few infectious woos, before fading out under a blanket of new wave keys, again, celebrating the Lunison gift for twisting a melody into the unexpected. The jangly guitar tones from that track’s chorus supply the main feature for the brilliant ‘Lost Are The Days’, when the band mix an early Connells/early REM riff and a shuffling drum part to create something that sounds like the missing link between college and roots rock, with a pleasing pop twist. Everything is musically solid, and the ringing guitars are gorgeous, but it’s frontman Matt Vantine’s voice that really shines here. Adopting a slightly breathy tone on the verse, he uses longer notes to soar above the busy backdrop, before taking a more standard pop-rock stance on a chorus that, although feels a little short, really taps into the band’s 90s vibe.

As for the “newer” material, most of it hits the mark…and then some. ‘Shelly’s Room’ opens with a contrast of ringing guitar and muted chords, tapping into something of a power pop persuasion, before a broad guitar riff fills a chorus with a strong call back to 90s bands like The Tories and Lazlo Bane. Between the dominant guitar and punchy rhythm, a huge vocal serves up more great pop rock sounds, and although the slightly ragged end mix tends to play down the track’s use of harmonies, there’s a big sound here that feels very accessible and familiar. The brighter guitar sounds really come into their own during the intro of the mid tempo ‘Everything Is Roses’ when they’re used to build tension, but once the track finds its feet, there’s a radio friendly quality – driven by great harmonies – that appears to owe a great deal to Sugar Ray tunes like ‘Every Morning’ and peak Toad The Wet Sprocket in terms of overall charm. The band aren’t completely beholden to a soft and sunny sound, however: ‘This Guy Bothering You?’ introduces a punchier bass sound from Greg Antonelli, and Pat Pinawin’s drums instigate more of a driving feel, and by blending the softer end of 90s college rock with a dose of funk, Lunison hit a genuine groove that sounds like the missing link between Toad The Wet Sprocket and The Spin Doctors. Almost dominated by a busy lead guitar break, the track ultimately ends up feeling more like a tight jam than a song that’ll stick, but it definitely has the feel of something that would work brilliantly within a live setting.

The short ‘Locura’ finds the band reaching for the acoustics and fleetingly shows off a love for bands like America, while retaining a recognisable Lunison vocal, and the album’s de facto title cut ‘Fake Pink Clouds’ adds funk bass to something else with a Sugar Ray-ish vocal arrangement, and although neither track feels like an immediate hit, both showcase a musically gifted trio. In the case of the latter, the unity between the rhythm players is clear; both are able to hit a groove without feeling the need to show off, and also without drawing away too much from another great vocal. It’s safe to say if you’ve found a love for any prior Lunison songs, you’ll enjoy this too.

Naturally, the pre-release single ‘Suscity Gurl’ is very much a highlight, and finds Lunison branching out yet again. The overall mood is more of a light funk rock than college rock, this time adding a slightly bluesy guitar to the Lunison sound. This leaves only a familiar vocal tone as one of the band’s only identifiable elements. In some ways, this shift is a great one: it really shows off the musical versatility within this trio, but also conveys the kind of melodic edge that could expand their fan base. From the outset, Matt’s guitar is at the forefront, and that sounds great weaving in and out of a semi-funky rhythm. From that strong musical base, a very melodic vocal shares a great tone, and even though the lyrical hooks here aren’t as strong as on a couple of other Lunison numbers, the unity between the musicians feels even tighter. Whether working the flowing groove of the verse, or punching with the chorus elements which make an unexpectedly late appearance here, everyone is in great form, and this leads to the kind of tune that’ll really stick after a few spins.

At just under half an hour, this album takes the old fashioned vinyl friendly format to extremes, but that merely allows ‘Fakepink’ to feel really direct and generally focused, despite the band’s love of different styles. If you liked the EP, chances are, you’ll love the album, and if you’ve only heard ‘Suscity Girl’ before heading in, you’ll certainly find a few tunes to like from the off. Time spent with the album definitely uncovers songs that are often stronger than first listens suggest, and with a retro heart and a love of a great riff, Lunison’s full length debut is the kind of record that manages to feel nostalgic, but never lazy or predictable. For lovers of great pop-rock/melodic rock with a 90s flavour, it’s definitely a record worth seeking out.

August 2025