Review Summary: Continuing the more stripped back alternative rock sound of Puzzles, Biffy Clyro pushed themselves into the stratosphere with a mesmeric collection of songs.
Formed in Scotland in 1995, Biffy Clyro are an alternative rock band that have drawn comparisons to Foo Fighters, Mallory Knox, and Twin Atlantic most recently. Their musical roots were humble, with the first two records incorporating elements of hardcore and making less of a splash and more of a ripple. When they released Puzzle, however, legions of adoring fans flocked to the band and waited to hear what they had to offer next. By stripping back their sound, removing the harsher vocals and focusing on the off-kilter changes in style and riff-centric style of Puzzle, Only Revolutions would become their most successful album at the time, drawing enormous crowds to the subsequent tour and garnering critical and public praise. For those of us that grew up with this album, it also represents a monumental level of nostalgia, with singles such as The Captain, Mountains, and -most notably- Bubbles remaining long in the memory. I personally have a huge amount of memories connected to this album, many of which are sad and painful, which partially dims my enjoyment of the experience itself, but the songs are as relevant and excellent now as they were on release.
The Captain opens the album up in stellar fashion, with the instantly recognizable riff that almost feels like a swashbuckling pirate's anthem, coupled with some obscure lyrics that stand out immediately. "Angels fall to the floor like they would if I was captain, 'silver children,' she roared, 'I'm not the son of God'. The low-end rumbling of the bass in the background of the verses keeps the song feeling interesting, maintaining a steady beat atop which Simon Neil weaves an impeccable tapestry of those outlandish lyrics and the mystical sounding guitar riffs. Describing Biffy Clyro's music on this album is dificult, because just when you think you have a handle on what to expect, they throw a complete curveball and still manage to sell it as well-placed. Going from the insanely catchy riff of Bubbles into the emotionally charged God & Satan feels like a logical progression, as does the almost funky introduction to Born On A Horse. This album may or may not be unique - I'm the wrong person to comment - but it certainly feels like nothing else I've ever heard, and every single song has something to distinguish it from the others.
Seeking for negatives amongst such a titanic collection of riffs, choruses, and impressive songwriting is truly a chore. Simon Neil's vocal tones are not for everyone - his Scottish accent mixed with the lack of any real vocal range is enough to turn some people off - and the fact that this album is so all over the place stylistically isn't going to win over every single person who hears it. The second half of the album isn't quite as memorable either, although the songs themselves are inoffensive and actually of completely equal quality. The issue here is that the singles are crammed into the first half of the record, and these are the songs that are called instantly to memory, and so I feel it necessary to highlight some of the gems found later into the runtime. Booooom, Blast & Ruin is an up-tempo song that feels like a radio rock number, going through the motions with its accessible riffs and simplistic drumming. It is the tonal inflections of Neil that make this one stand out, with those Scottish tones really improving this, and the drumming in the instrumental break being especially good. Cloud Of Stink is one of the strangest songs on this record, with Neil pushing his vocals into a higher register which is clearly outside of his comfort zone but works fine. The lyrics are indecipherable in this section, but the chorus is absolutely monolithic and a true celebration of the strongest aspects of this band.
Only Revolutions is not a record for everyone, but it is one that feels utterly different from anything else and definitely holds significance for a certain generation. The singles are excellent, and the rest of the songs on offer here do little to hinder the overall quality. This is alternative rock at its absolute best, capable of matching similarly envelope-pushing bands such as Faith No More in quality throughout.
