Review Summary: The feeling of high expectations being wholeheartedly met.
I think it was Zappa who said that writing about music is like dancing about architecture (although I haven't done any empirical research). Such a quote entails that the next hundred-or-so lines of arbitrary words are rendered obsolete. Despite this, I can only hope that my intentions to inform and to promote this amazing album don't get lost in the slipstream of futility. More verbal wankery to come.
One of the reasons I love this album could be due to the fact that I take a shine to anything which Mike Vennart is willing to put his name or talent to. There's something about the essence of his musical abilities which never stops pleasantly resonating with yours truly. This album is comparatively lean, which may unfortunately be a minor downfall for the small masses who have heard of him before and thus have preconceived ideas about its potential sound. In revision of the last sentence, I wish to declare that this album isn't comparatively anything. Let's get on to the in-depth review of the tracks themselves.
'255' is not an atypical introduction for a general stadium rock outfit (such as newer Biffy Clyro for example). The opening guitar lines which Vennart himself described as beautiful in his pledgemusic video are truly that. A quiet guitar-led verse and a chorus of some description complete the emergence of a powerful introduction followed by some "***ing annoying" noise. 'Doubt' is where the true wacky fun begins. A fuzzy fuzzy 'Audioslave in the style of Cardiacs' riff emerges after a snapshot of pure noise. An early favourite, the shining melodies in the verses supersede the undercurrent of tricky dissonance. Then the silly 5/4 keyboards and Vennart's falsetto just melt everything into liquid euphoria. The resplendent guitar line when the 5/4 keyboards return furthers the amazement. 'Infatuate' is an early song I heard from the album, being a loyal pledger but lacking the patience and discipline to wait to hear this splendid track in context. It may still be my favourite due to Mike's vocals after the second chorus and the wrenching guitar riffs pervading the final minute. The rest of the track is by no means inferior listening, however. Plus I'm a sucker for 7/4.
'Rebirthmark' begins oddly, even relative to the rest of the album's oddity. After flicks of toy piano, soothing vocals are summoned and dramatic staccato strings follow. Vennart and the boys have a true gift for marrying the experimental-sounding with the conventional-sounding to result in an indeterminable intersection. Anyways, from being on tour with Biffy for so long, there is no doubt that Mike would inevitably acquire even sharper abilities for writing amazing chorus hooks, probably with the help of Steve Durose as well. The annoying final Infatuator-Pedal-esque noises (I'm inferring as much, at least) still bring a slight chuckle and side smirk to this rusty soldier hardened in an ageless shame. 'Duke Fame' is a brilliant, top track from its head to its toe. There's a new intensity in the verses and the guitar in the final minute gives 'Infatuate' a run for its proverbial money. I always picture a medieval moshpit in outer space when I listen to this track and, regardless of faux-journalistic hyperbole, I'm sure at least one (possibly only one) other soul will echo a similar sentiment one day. Only a fool would dismiss this as a non-highlight.
'Don't Forget the Joker' is soulful, accessible (relatively) and somehow sloppy in the best possible way. Like a whole bar of indulgent raw marzipan left in the sun for an hour. There's a new found purity and conviction in Vennart's words, even when he's singing about soldier businessmen or the directionality of where a lie goes when it requires death. It's a highlight vocally, emotionally and appropriately; being the structural centrepiece of the mother album. 'Retaliate' which, for the sharp few of you out there, you may realise in fact rhymes with another track name on the album; is another awesome groovy 5/4 noise rocker with some whimsical yet evil-sounding digital noises penetrating. Thanks, Gambler. The occasional falsetto vocal melody is also noticeably vivid. Thanks, Durose. 'A Weight in The Hollow' is alas another pre-released track upon which I indulged almost immediately after receiving it. On the one hand, it may be the token mellow song (I won't say ballad, I just won't) but on the other hand, it's the real payoff: transcending the noisy guitars and producing one of the finest demonstrations of alternative rock in the past decade. A true anthem in the truest sense of the word (well, as long as anthem still applies to music in its truest sense), the repeated line "Out in the open, forever waiting to dry" (at least I think it's dry) provides a stunning crescendo.
'Operate' which, for the even sharper few of you out there, you may realise in fact rhymes with two other track names on the album was the first flavour of solo Vennart way way back in 2014. Sounding far less demo-ey this time around, it's just a solid slice of fried gold smacking of epic and much amaze. You should have seen me [without knowing the lyrics, attempting to] sing along to the chorus during Vennart's Brighton gig a few weeks back. Lush stuff. 'Amends' is, for my money, the track with the working title 'Many of dEUS' which Vennart joked about. There's a reflective vibe present, coupled with curiosity and excitement for the future. In many ways, an obvious choice for an album finale given these particulars. A good explosion of second verse hits and cue the impressive vocal range and further emotive guitar playing. An early but perhaps intentional end to this final track signifies the end of the line. Maybe another 5 indulgent minutes of noise (I'm being pretty vague here) wouldn't have gone amiss, but maybe I'm just clutching at second hand McDonalds straws.
All in all it's a fantastic album which I wholeheartedly pray (even as an atheist) isn't merely a one-off. It's noisier and fuzzier than anticipated but just as unpredictably amazing. Mike is finally doing what the *** he wants to do and his cronies from past endeavors want nothing more than to indulge his brilliant mind. Special props to the drummer Denzel for whom I have as much praise as Vennart does. Pretty much every song on here avoids straightforward 4/4 like the plague (deliberate or not) and yet his style of playing displays a technique whereby one barely notices the abnormal time signatures. Gambler and Durose are also, as expected, priceless embellishments on this small but powerful and sugary sweet cake of long lasting delight. The aftertaste ain't half bad either. Most importantly though, it's an album one can describe in detail without even needing to use the holy O-word.
