This album starts out with “Barcelona City Tour”, and I have to give it to Mourn for coming off very urgent. But I feel like this instrumental is a little flimsy. This isn’t nearly as focused as they once sounded years ago, with a sort of gloomy, old school Punk feel. But these vocals, however, on all accounts, are sounding awesome. To be honest, I really don’t think I’ve ever heard them this truly angry and unified. I just wish this one went further instrumentally. On the other hand, “Skeleton” isn’t nearly as upbeat or Punky, but it’s just so much more focused. I love the imagery here, Mourn has absolutely always had the occasionally twisted tune, and this is a good one. It’s much less aggravated and the band seems so much more at peace, which I thought I would hate. But honestly, this track is seriously punchy and incredibly memorable. It’s not flashy, it’s less than 2-minutes and just really fantastic. Now, I do have to say that with age, some of these vocals have gotten a whole lot more passionate and intense. I also have to give credit to the production, with the band sounding fuller than ever. On tracks like “Strange Ones”, it actually gives this a much more heavy sound which I’m totally into. I love the sort of extended jam on this one that reminds me of something I would have heard on the last Screaming Females album. Not to mention, I really can’t think of too many slow tunes from Mourn. But this actually gives me a lot of hope for future tracks like this. It’s intense, streamlined, and that last 30-seconds is absolutely brilliant. Then we have “Fun At The Geysers”, which of all of the singles here, this absolutely stuck out to me the most. For one, I absolutely love the dual vocals here between the high pitched screeches and the more interesting and dark vocals underneath. This one actually has a lot of gloominess that I originally obsessed with on their self-titled debut. But with all of that, Mourn don’t give up on just how legitimately catchy and melodic this track is.
Now, there’s nothing too heavy about this album. “Candleman” is on the lighter side with some catchy guitar hooks and some nice harmonies. But I feel like it’s in moments like this that Mourn come up a little short. The attitude and youthful qualities that we heard earlier are all out the window, and if this one didn’t have really awesome harmonies it wouldn’t have much of anything. Especially for a short track, this one doesn’t come off nearly as genuinely interesting. But then “Orange” really takes this album on a weird detour with a much more whimsical number. If that Punky attitude was gone before, it’s completely gone now, and in its place is this sort of Low-Fi ballad. It’s not the worst track I’ve heard this year, but for a Mourn track, this isn’t welcome in my book. Thankfully, Mourn bring in a much more crunchy and aggressive sound with this one. This is easily one of the heaviest sounds I’ve ever heard from this band, mostly just because the production here is so freakin’ crunchy. It’s a decent track and all, but I do sort of wish they focused more on honing in on their catchier material. Because honestly, that’s their strength. But man, this track is still pretty fantastic, and I do love the sheer intensity of this one. Especially in the last minute, this track get’s ridiculous. And I hate to be that guy, but I really do love the much more moody and aggressive tracks here. For example, “Thank You For Coming Over”. Here, it’s where Mourn’s very melodic vocals come through at their most anthemic, and the band just seem so much more urgent. And I love how as it goes on it just spirals out of control and gets completely hypnotic. More of THIS, please.
The sheer determination of this album continues to lead to some of it’s sharpest moments. “Bye, Imbecile” is all about this great, upbeat riff and some sharp vocals. But I feel like of all of the tracks here, this one focuses a whole lot more on instrumentals. Which honestly, is a really nice change of pace. So much so, that when the final minute rolls in with these much more harmonious vocals, it’s actually exotic and legitimately exciting. Honestly, I really love hearing Mourn in a more upbeat attitude, I just wish they would return more to their gloomy roots. On the other hand, “Divorce” is a sort of grimy sounding and much more patient tune. It’s moments like this that you have to take a step back and really think, wow, this is their third album and they’re like, 19 years old. It’s wild. Now, this one almost has a Post Hardcore edge to it. But I continue to not be nearly as into some of these slower tracks. They’re going for this pressure-cooker style, which is totally fine. But as far as more emotional tunes go from Mourn, the band’s more punk-oriented tracks are just so much fierier. But for a grimier and grungy tune, “Epilogue” actually works out pretty nicely. Mostly because the vocal performances here are just so passionate and wild. It’s moments like this that I feel totally comfortable with Mourn taking a slower approach. It’s still got that great Punk attitude as well. Now, I do sort of wish tracks like this were maybe a minute longer, but I also know not to bite off more than I can chew. This is a fine tune. But sadly Mourn do end off this album a little awkwardly with “Sun”. I don’t have a problem with the band going for a ballad or a stripped down number. But to be frank, this track is wildly awkward and sticks out like a sore thumb. In the second half this one picks up in a big way with these wailing vocals that are just so big and emotional, and it does give this album a sense of finality. I just wish it didn’t have that first minute of serious awkwardness.
Rating: 7.4/10
Give A Listen To: "Skeleton", "Fun At The Geysers", "Thank You For Coming Over", "Epilogue"
Least Favorite Track: "Orange"
Genre: Indie Rock / Punk Rock
Overall Thoughts: It's crazy to believe that this is Mourn's third album. And for the most part, this sounds like where the band should be right about now. I continue to think that the band is at their most memorable when they're going for that moody, Punk sound that I was introduced to them with years ago on their debut. The harmonies are on point, and some of these vocal performances are wildly passionate. But when Mourn slow things down, it often gets pretty ugly sadly. And why are there legitimate Low-Fi ballads on here? Still thought, this is about where Mourn should be sounding.
No comments:
Post a Comment