UK,
Oxford-based band formerly known as This Town Needs Guns are back with a
shortened name, a reduced three-piece lineup and their most accessible and
balanced record to date.
TTNG have gone through quite a lot of things
for a band with only 3 records counting this one under their belt. However,
changing the band’s name and the recurrent lineup changes (most noticeably
former vocalist Stuart Smith for the current vocalist Henry Tremain) haven’t
really altered TTNG’s original formula; the band is as jazzy and math-rock
inspired as it’s always been and this new project sees the band doing once
again what they do best while refining everything that has made their sound so easily
distinguishable and characteristic.
On Disappointment Island the band sounds as
clear and clean as ever, the instrumentation sounds sweeter but it’s also more
intricate (some truly amazing guitar work being displayed throughout the entire
record) and Tremain’s vocals sound a bit less intense but more subdued and
balanced all of which keeps things fairly entertaining almost for the album’s
entire running time, something previous TTNG works lacked.
The record starts off with two of the liveliest
and most immediate songs here; the opening track “Coconut Crab” works perfectly
as the album’s introduction because it sounds fantastic and it sums up the kind
of lyrical themes TTNG explores here. The lyrics are very contemplative and
sort of bummed out but positivity is also palpable and that charming songwriting
is another improvement Tremain has made for the occasion; this might not be the
band’s most intense album lyrically but it’s hands down their most mature
lyrical work to date.
What’s so interesting about “Coconut Crab” is
that it seems to be a song about Tremain’s songwriting process and what it
represents to him: “words likely have less merit than the timbre of their sound
so sing anything you feel like and don’t let it get you down”. “A Chase of Sorts” is another strong single that
also features some very interesting and reflective lyrics adorned with lines
like “pencil in the pain preceding black, you’ve penned yourself in half,
yanking back the tact that you have lacked; your mask is part the task” or “are
you the you you’ll sing out loud or the you you’ll leave out?”.
The duality between how sweet the music is and
how sharp and philosophical the lyrics are, is essential to understand the purpose
of this record, right from its very own title to its fantastic cover artwork. “In
Praise of Idleness” combines some of the sweetest melodies on the album with
deep musings like“Move on, I’m no good; What do I contribute; cut the fat from
your backs; where do I exactly fit; does the group benefit if I quit and cease
to exist” while “Whatever, Whenever” is an excellent track with a delicate tone
and some kind of post-rock inspired moments (a novelty for the band as far as I
can remember). The music is sweet but genuinely intense which prevents things
from turning sappy and the lyrics, once again, feel quite dark in comparison
with the music being played: “I’m just fine, most the time; I’ll get by; I’ll
survive. I’ve been losing the taste for living, biting my tongue, now it’s
bleeding; biding my time just to give in”.
“Bliss Quest” starts off as one of the slowest
tracks in the band’s catalog but eventually evolves into something more
fast-paced and the track “There is no I in Time” sounds terrific and also
contains some remarkably clever uplifting passages like “…break under your dead
weight or persuade change; what’s there to choose between nothing and nothing; there’s
you, what have you to loose” where the band comes across some positive thoughts
with frankness and sensibility.
“Sponkulus Nodge” and the closing track “Empty
Palms” do the job and end the album on a very satisfying way, especially “Empty
Palms” which is a great exemplification of how well TTNG’s blissful
instrumentation-almost dark lyrics combo works on this record. Tremain’s vocals
sound better than ever they can also get a bit repetitive at times and while “Consoling
Ghosts” feels like a filler and “Destroy the Tabernacle!” probably the punkiest
track the band has put together so far, feels more like a failed experiment,
the vast majority of the album remains highly enjoyable and surprisingly
emotional.
TTNG aren’t exactly re-inventing the wheel in
any way here but the production is tight and both the guitar work and the
drumming are stellar. The track listing is catchy and dancey and the lyrics are
thought-provoking and reflexive in contrast, which makes for a rather distinctive
aesthetic that gives the album personality and candor.
On a recent interview Tremain complained that making
music was getting more and more difficult every time to such an extent that it
was barely feasible for them to keep going making music. With the quality of
the work presented on this album, it would be a real shame to see TTNG calling
it quits due to financial struggles so, if you’re into some math-rock, jazzy,
pop-rock, emo stuff with solid songwriting and a sound capable of brightening
up even the rainiest days, you should definitely not miss this record because as
it turns out, this island is everything but disappointing.
You can listen to the whole record in the link down below!
