Review Summary: “Potential” can be a dirty word sometimes. It definitely exists on this debut which is ultimately derailed by a lack of songwriting quality.
While it may be against what comes natural to an artist, debut full-length releases are at times more a matter of showcasing potential, rather than putting together a coherent and successful album. Sure, bands such as the Arctic Monkeys & Arcade Fire (amongst others) have made a mockery of such a theory, but especially younger performers will still be searching for their true sound more often than not. This is definitely the case with Australian rock trio Children Collide.
Consisting of 12 tracks which lie somewhere in between alt-rock, grunge, indie-rock & garage rock, the band’s debut LP ‘The Long Now’ has been produced by American David Sardy, who has previously worked with the likes of Jet, Wolfmother & Oasis. Sardy has done a nice job of bringing out some of the group’s strengths with his knack of contradictorily polishing up what are essentially raw sounds. It is just a shame that for the most part, the songs are simply not strong or memorable enough to warrant repeated listening.
The first 3 tracks sum up the album in a sense and it should be noted that 2 of them are both the lead singles and arguably highlight cuts. The band’s strength is the way in which the guitar and bass combine, as can be heard on the deliberate build-up of opener ‘Across The Earth’. Lead single ‘Social Currency’ then highlights Heath Crawley’s fantastic bass work, while the following ‘Farewell Rocketship’ begins acoustically with guitarist/vocalist Johnny MacKay’s more conventional sounding vocals working a treat to add that touch of melody which is sorely lacking elsewhere.
Unfortunately, the quality of songwriting does not match the musicianship on offer. All three of the aforementioned tracks have choruses which unforgivably repeat their song titles (8, 3 & 4 times respectively). Repetition and simplicity is clearly an issue throughout the album, while it is also lyrically uninspiring apart from some clever lines on ‘Cannibal’. Furthermore, there is a clear formula to be heard, with ‘Seasons Changing’ being one of numerous tracks to contain slower quieter verses and then a faster louder chorus.
What may be most disappointing about ‘The Long Now’ however is the unfulfilled potential on a number of songs. ‘Skeleton Dance’ shows signs of being a very good dance-rock cut a’la a rougher-edged Franz Ferdinand, but simply doesn’t capitalize with practically no hook to be found. While both ‘We Live In Fear’ and closer ‘Devils Child’ contain hints of anthemic guitars, but are done no favors by their sub-par vocals.
The album is not a total write-off however. In addition to the aforementioned two singles, mid-album piece ‘Chosen Armies’ is an impressive bass-driven song that contains a number of nifty ideas. The spaghetti-western like introductory guitar, the distorted Wolfmother like vocals and the drawn out backing vocals during the chorus all come together well. Meanwhile, penultimate track ‘Brave Robot’ contains more fantastic bass work and an alluring guitar chord progression within the chorus. MacKay subtly resembles Sting during the verses of this cut, which also gives it some real character.
“Potential” can be a dirty word sometimes. If artists can fulfil it during their career, then one will look back at a debut album like ‘The Long Now’ and recognize all the positive signs easily. Yet, if the potential remains unfulfilled, then the same album will be simply seen for what it is; a hit and miss affair that contains some impressive components, but also has little lasting value and does not successfully come together as a whole. The ball is in Children Collide’s court now and album #2 will be worth keeping an ear out for.
Recommended Tracks: Farewell Rocketship, Social Currency & Brave Robot.
