Porij – 'Teething' review: an entrancing siren call to the dancefloor

Porij’s debut album ‘Teething’ is destined for clubs and late-night festival sets. On this siren call to the dancefloor, the quartet – who met while studying in Manchester – continue to hone a euphoric blend of alternative and indie sounds with far-spanning electronic influences. It’s a winning sonic world that they established on previous releases like 2020’s ‘Breakfast’, which NME described as “a genre-splicing collection that flits between nu-jazz, house, funk and art-pop”, and 2021’s sun-drenched sugar rush ‘Baby Face’ EP. Here, Porij broaden their palette into something more mature.

It comes after a period of transformation for the band. In 2022, two members of their initial line-up left, prompting vocalist and keyboardist Egg Moore and bassist James Middleton to enlist uni pals guitarist Jacob Maguire and drummer Nathan Carroll to join them. Thrown in the deep end, their first summer of shows in this formation included gigs at Glastonbury and Green Man festival.

You can hear this change in the music, too. While the album does miss the Disclosure-esque bounce of tracks like 2021’s ‘Can’t’ Stop’, it’s undeniably still an album to dance to. Working with renowned producer David Wrench (The xx, Frank Ocean), they’ve expanded their sound: percolating synths, lithe beats and Foals-style wiry guitar licks are paired with ethereally beautiful arrangements, intriguing production and poppy hooks, taking their music in a darker direction.

Take ‘Marmite’, the record’s punchy opening track, on which floor-shaking bass is merged with twinkling keys as Egg’s vocals flit between searing, not-quite-spoken-word parts and soaring, melodious moments. ‘My Only Love’, which is reminiscent of London Grammar’s more uptempo moments, explores the sometimes complex emotions of being in a long-term relationship. “Don’t know if this will be forever / But for now know / You’re my only love”, Egg sings honestly. Fusing UK garage-laced rhythms with pitch-shifted vocal samples, its jubilant chorus captures the feelings of dizzy romance.

Album closer ‘Slow Down’ is a quieter affair. An impressively written song, it’s built around skipping piano riffs and crunchy chord progressions that don’t quite resolve and instead build an unsteady tension. The resolution comes with its final lines – “Finally I’m on my own / Finally there’s silence in my bones” – when a sweet vocal melody arrives like a sigh of relief.

Injected with the thrilling energy that’s become a staple at Porij’s live shows, ‘Teething’ sees the quartet level up their sound without losing what fans have come to love. A swaggering collection of complex-but-catchy cuts, you won’t hear any teething problems here.