Type: Album
Genre(s): Post-Rock, Experimental Rock, Post-Punk
From: England, Cambridgeshire
Release: February 5, 2021
Producer(s): Andy Savours
Generally, every time I hear this effort I’m left with the sensation that I’m listening to a diamond in the rough — which is why it’s so impressive for it to have such a massive amount of raw power and pure artistic merit, even if it appears admittedly inconsistent at times — in my opinion. This inconsistency comes from the somewhat unfitting influences or sections that are sometimes glued together; resulting in a partially hit-or-miss exercise in eclecticism.
Lyrically, I also consider this album admirable — with its clever use of relationships as analogies for the fear of creating music and being part of the music industry, while also addressing insecurities and a tormenting human psyche. Additionally, in terms of chemistry, they are consistently enjoyable and complement the music fantastically; and vice versa.
•Low 9•
Highlights: Sunglasses, Opus.
Lowlifes: Track X.
Track-by-track review
Instrumental opens up the record with a beautifully hypnotic, groovy, and enveloping repetition of off-kilter rhythms and moving performances. This applaudable entrancement —it’s worth emphasising— is by virtue of an imaginative percussion arrangement, a phenomenal sax solo and wonderfully fitting klezmer influences.
Low 9.
Athens, France features quite personal and somewhat indecipherable lyrics. They seem to —satirically— touch on anecdotal experiences regarding a tasteless distaste for someone else, as well as on the darker side of adversity — when you learn nothing from it. Instrumentally, this cut opens up with a truly near-immaculate introduction, brimming with euphoric energy which —sadly— peters out slowly as the track goes on, eventually arriving at a not-so-expressive outro. Personally, this comes across as a slightly unwelcome deviation in sound. Possibly, in a vacuum, this could be a rather enjoyable section; but, in terms of cohesion, it feels like a distraction and dilution of a wondrous vitality boasted earlier.
High 8.
Science Fair is —lyrically— a wholly impressive detailing of someone failing to come to terms with an individualism lost in a sea of “preferences”, embarrassment, and self-depreciation. A wonderfully standout lyric that encapsulates this is the “I was just one among crowded stands” line, which hits with quite a hefty weight by the time it is —very emotively— delivered. Instrumentally, this cut is a highly coherent and focused effort, carried out in a hypnotic and abrasive manner. It might not have any particularly exceptional moments, but the consistency throughout the song is greatly appreciated. However, if there’s anything worth highlighting, it’s the absolutely blood-boiling outro; which features a phenomenal saxophone arrangement and explosive mixing — as well as truly powerful performances from every member.
High 8.
Sunglasses: funnily enough, the cut that is the most immersive and evocative from start to finish is the longest song in the tracklist, at almost 10 minutes of runtime. I can honestly say that there are delightful moments and musical ideas in every section of it, except for some slightly long-winded transitions in between. Lyrically, it also happens to be an absolute treat; a great, consistent, and heartfelt portrayal of fear for the future and who one might become. Moreover, it also dabbles in critiques of superficially spent wealth, hypocrisy, and abhorrent leisure — used to menially criticise frivolous matters.
Mid-High 9.
Track X is a disappointment; not a massive one, but quite a noticeable one. This song is as pleasurable, peaceful and easy to listen to as it is forgettable, unfitting and flavourless. All of these aspects ultimately meet in a lukewarm middle in terms of enjoyability. Lyrically, however, this song is still a recognizably commendable, genuine, and emotive love song. More specifically, a really appreciable element that is smartly implemented is its nuance; used to strike an evocative balance between endearment and ill-founded infatuation.
High 6.
Opus probably has one of the most exhilaratingly powerful motifs and arrangements on the record. Personally, however, I always feel like it sadly overstays its welcome with the half-time repetition of this mind-blowingly impressive main section. This third reiteration comes across as a bit of an unpleasant interference to the energy established by the first two, truly perfect instances. That being said though, the shouted vocal performance towards the end is deeply moving; which along with the first two choruses being fantastically energetic enough; means that this last leg is not much of a hindrance in the big picture of the track. Additionally, the klezmer influences previously mentioned are at their arguable peak in this cut — something that is most definitely implemented in an incredibly rewarding manner. Moreover, lyrically, this song continues with its tendencies to build extended metaphors — used as explorations of romantic relationships and the musical experience. This time around, we’re treated to a palette of dissociated and distant emotions, as well as feelings of being hurt by decisions previously made. There are constant undertones of disorientation, and an unsettling sensation of being trapped in a choice made by oneself — leading the narrator to believe that what they have built was done so on “Black Country ground” and thus destined to turn sour.
Mid 9.