It is fairly safe to say that up until recently, Biffy Clyro have been a band who have been criminally underrated by the masses. They have never really had much mainstream appeal with their weird, disjointed melodies, and sometimes incoherent vocals. Whereas many will have not heard of them before the countdown to this album, others who maybe have heard them haven’t paid too much attention. An example of this could be on this very website. Take a look at Biffy Clyro’s band page. Their album ratings are consistently very high indeed; yet very few people have them on their favourite’s list. One possible explanation of this is that many people take one listen to the incredible, sprawling mess that blasts its way through the speakers; potentially are amazed by it, and think no more of the band. Well for those that perhaps haven’t given Biffy Clyro the attention, and listening time they so obviously deserve, prepare to give it them. The Scottish trio’s fourth album ‘Puzzle’ sees the band breaking through into the mainstream, while not throwing away their roots entirely, and therefore hopefully not alienating too many fans. Many bands that are said to be ‘breaking through into the mainstream’ often create very generic, boring and in most cases poor albums. Thankfully this is isn’t the case here. Puzzle is exceptional.
‘Puzzle’ starts with the album’s first two singles. Both songs have received plenty of airplay over here in the UK, and with good reason. Both
‘Living Is A Problem Because Everything Dies’ and its predecessor
‘Saturday Superhouse’ are both brilliant rock songs that deviate slightly from what is expected of a rock song. This means that while the two opening tracks are more accessible than previous Biffy Clyro albums, they are significantly different from any other rock songs out now. Both songs have superb, almost epic choruses and demonstrate great musicianship, particularly in the drums and guitar sections. While the music is certainly more mainstream, although being different and brilliant enough to stand out; the lyrics on the album are unexpected, unpredictable and reminiscent of previous Biffy efforts. The weird and wonderful lyrics work well with the music and their effect is often beautiful, confusion, witty and in some cases builds tension very well.
An example of ‘tension’ being created is in the penultimate track
‘9/15ths’ which has simple, ‘stabbing’ orchestration, and singer Simon Neil leading a choir through “We’re on a hell slide-Help us, help us”; and the even more confusing “Are you an Elephant? You’ve fallen to pieces.” The track really only acts as a precursor for what succeeds it, but it still feels like it belongs on the album, and makes it complete. In fact it makes the album more complete, and not just for it’s musical value, but because 9/15ths + 2/15ths + 4/15ths = 1. There are two songs here titled 2/15ths and 4/15ths.
‘As Dust Dances (2/15ths)’ is simply beautiful. It has an instantly calming, opening riff played cleanly on the guitar, and builds by way of the rhythm section until it climaxes and then burns out, with an eerie piano outro - which is 2/15ths. Lyrically it is unusual, and while somewhat nonsensical it sounds very melancholy. While 2/15ths maybe the most gentle, soothing track on the album
‘Semi-Mental (4/15ths)’ is probably the most raucous on the album, and closest to Biffy’s past of weird, disjointed guitar parts. Its one-line chorus of “You shone a light on my life, now I’m just sentimental” is very simple, yet oh-so effective. Like 2/15ths; 4/15ths follows the main track, and again uses minor chords on the piano that are played under that weird line about the elephant.
‘Love Has A Diameter’ begins with a drum roll accompanied with clearly audible bass, and twinkling guitars in the background. The drum roll continues throughout the first two verses and choruses of the song, and then builds up to a louder dynamic with the rest of the music. This is where backup vocalist, and bassist James Johnston adds some “whoa’s”, which to my knowledge is a first for the band, and certainly adds to the song and sets it apart from the other just as great songs on the album. It is followed by
‘Get ***ed Stud’ which starts off with one of the more unconventional guitar riffs on the album, as it sort of does a call and response with itself. The lyrics throughout are angry and bitter, although you wouldn’t be able to guess it from the soothing first verse and chorus. However, the anger is better displayed in the second verse, as the music gets louder, the texture thickens and the vocals become more raging. The time change in the chorus (Verse=4/4: Chorus=6/8) is a simple one but helps make the song even more interesting than it already is. Next up is the more conventional
‘Folding Stars’ which recalls Foo Fighters as a clear influence, with it’s made-for-arena mainstream rock stylings. It’s chorus of “Eleanor, I would do anything for another minute or two because it’s not getting easier, it’s not getting easier” has a very anthemic feel, which fits the song perfectly.
To say that the album is without weak tracks is to tell a lie. Although in truth, looking over the track listing, only one comes to mind; and even that is not too bad. That song is
‘Who’s Got A Match?’. It’s verse is made up of a simple-crotchet stomp, which although simple does actually create an uneasy atmosphere; but at times it treads the line between pop and rock a little too fine, and although there is nothing wrong with pop or pop/rock it doesn’t work awfully well here and the song feels a little out of place. That however, is possibly the only complaint with the album. The album ends with the beautiful acoustic song
‘Machines’. String sections are used subtly, and add a nice effect. The lyrics are very moving, and reference the album title by telling us gently and calmly to “take the pieces and throw them skywards.” The album cover shows a man made out of puzzle pieces, but one has fallen out; fortunately the album doesn’t have any pieces missing, and
‘Machines’ is the final piece of the puzzle. Simon sings of how he has “…forgotten how good it could be to feel alive”; and although the album is not a classic, it is very close, and yes, maybe it does remind you of how good it can feel to be alive.
