Cannonball

Britpop has always had a touch of theatricality—think Jarvis Cocker’s brainy swagger, or Brett Anderson’s glittery grandeur. But the London art-pop collective Man/Woman/Chainsaw takes that concept to a new level on their debut full-length, which is filled with miniepics that crash and soar as guitarist Billy Ward, keyboardist Emmie-Mae Avery and bassist Vera Leppänen dig into their muckiest feelings about life and lust. <i>Cannonball</i> opens with <b>“Only Girl”</b>, a violin-propelled slice of twee with well-manicured verses and a soaring chorus, Leppänen asking a lover to commit with increasing, desperate fervour. From there, the album takes stylistic leaps that energise the vocalists’ storytelling and show how Man/Woman/Chainsaw—which has been playing together since its members were 16—is willing, and able, to take on any musical style their minds conjure. There are also moments that feel ready for the UK festival circuit: <b>“Still Angry”</b> is a smouldering chamber-pop rebuke to an abusive ex that explodes into profanity-boosted declarations of rage; <b>“Nosedive”</b> ascends into a thrumming invitation to jump around while sing-shouting Avery’s hopeful refrain—“Baby, get me back up over you”—over and over until the words fracture around her.