ALUNAH
Fever Dream

There’s a feeling of finality that hangs over “Fever Dream”. The seventh album by ALUNAH, it should have been the next step in their progression which followed two excellent albums with Siân Greenaway in “Violet Hour” (2019) and “Strange Machine” (2022). Instead, it’s Greenaway’s swansong, as she departs from the band mere weeks before “Fever Dream” is released. The future of ALUNAH is uncertain, although pleasingly, the band has made it clear that there will be more to come.

Regardless, “Fever Dream” is an album of high quality and sits comfortably alongside their previous releases. One play is all you need to appreciate that the core of this album has been written in a jam room environment, such is the togetherness on display, a truly inclusive unit. With the reliable production of Chris Fielding and evocative artwork thanks to Stefán Ari, this is an album that deserves to be played again and again.

Maybe it’s a testament to the band that they now have a distinctive sound. They stand in a genre that is overflowing with quality, mixing the psychedelic splashes with a heady concoction of doom and stoner vibes, all bundled up in a gloriously retro sound that feels both old and modern in one hit.

It’s not over complex, although there is plenty to enjoy and unwrap on repeated plays. Opener “Never Too Late” is an obvious choice, with its crunching riffs and driving approach, whilst “Trickster Of Time” which follows is indicative of the band’s wider scope of sound, combining elements of blues and soul into the mix. Greenaway’s vocals are as haunting as ever, whilst the groove that underpins some runaway flute is inspired. If this doesn’t persuade you to get up and wave those arms, then one wonders what will. Sadly, it may be some time before we get to see this live. A real shame.

Musically, it’s as loose as you’d want it to be. There is an expansive, almost freewheeling drive about the music, be it the organic way in which drummer Jake Mason and bassist Daniel Burchmore deliver both frenetic passages and the sublime laid back approach (such as on the title track), or the fiery lead work of Matt Noble, making his second appearance for the band on record. His work is exceptional, understated yet vital to each piece.

Whilst ALUNAH have a clear style, there’s plenty of variation to enjoy. The fuzzy “Sacred Grooves” is followed by the gentle “Celestial”, a short instrumental number that is almost cinematic in its delivery, the woodland flute once more adding to the ambience. Three solid tracks conclude “Fever Dream”. The meandering tones of “The Oddyssey” which sees Greenaway at her vocal best, the darker edge of “Far From Reality” with a groove that gets right under the skin, and the prophetic “I’ve Paid The Price”, with additional piano by Aaron B. Thompson (Rosalie Cunningham) adding another dynamic to the song.

So, a bittersweet finale to Greenaway’s tenure with the band. Her performance here is amongst the best she’s given, her soulful rasping vocals always hitting the right notes for me. It’s a solid marker for the band, and I wish them every luck in their next steps.

Paul Hutchings