London-based Dead Chic make their full-length debut with Serenades and Damnation, a record which attempts to create a cinematic, widescreen sound but, at times, the band’s ambitious ideas stretch too thin across their vast palette of influences. Formed by Andy Balcon and Damien Felix, previously of Heymoonshaker and Catfish respectively, the band has developed a reputation for an inclination towards intense, atmospheric rock with Latin and macabre touches. While there are moments of levity and music-hall surprise on the album, the overall experience is genuinely a mixed bag—one where the band strives for grandeur but often veers into unconscious pastiche.

The album opens with some ambient studio hiss and Balcon (?) calling for a count-in from keyboardist Mathis Akengin; inviting the listener in to this live recording setup. ‘Hedonista’ then crashes into life with a desert rock bass pierced by a Waits-ian howl on vocal. The drama doesn’t let up much thereafter.

This is a record with a dramatic but familiar sensibility, drawing some inspiration from Ennio Morricone’s iconic penchant for sweeping arrangements and onomatopoeic flourishes. However, there is more than a nod also to English music hall and vaudevillian performance on the likes of ‘All Seasons Change’.  While on ‘Pain Love Joy’ the intensity of fuzzy guitars and walloping percussion is palpable evoking a kinetic energy between band and listener. Yet, it’s Dead Chic’s grandiose approach, which can get overblown, slipping into exaggerated, even corny territory. The echoes of the aforementioned Waits – specifically his gravelly, down-at-heel ballads – are hard to ignore. While it’s clear that Balcon and Felix are attempting to channel an otherworldly vibe, it often feels like they’re aping a certain type of gritty, dark romanticism rather than creating something wholly original. At worst, their attempt at gravitas occasionally devolves into a pastiche that lacks emotional depth. For example, the melody in ‘Mirage’, in particular, is strikingly reminiscent of the eerie Marley and Marley theme from The Muppets Christmas Carol, an unintended source of comic relief rather than the sultry rock the song aims for. It’s an odd juxtaposition that pulls the listener out of the experience.

Despite these missteps, there are some undeniably striking moments. For a debut album, Dead Chic crucially capture a raw energy, with tracks like ‘Too Far Gone’ benefiting from the spontaneous, almost chaotic vibe of a live performance. The interplay between both lead vocalists, paired with the powerful rhythm section, keeps the album from losing any spark across its run time. If not for some tonal mismatching – where darker, moody landscapes collide with those awkwardly delivered Latin influences – keeps Serenades and Damnation from being a great debut rather than just a good one.