When you get to the stage of releasing your seventh album, it would be understandable to go quiet. Maybe it's time to slow down and take it easy…
Scottish alternative rock Twin Atlantic Didn't get the memo. The immediacy of the album's opener, “Asleep,” is a surprise, even a shock. The energy level is raised beyond max and rock intent is slammed in your face. This band consciously aims to make an impact from the beginning, and it certainly does. The song immediately proves to be a precise study of late-millennium rock, combining crunchy guitars (played with big arm movements, even just listening to it), Joe Lazarus' cracking drums, and Sam McTrusty's octave jumps and vocals that loom on the mic. It's a pop-rock wonder with teenage angst that transports you back to the simpler world of Web 1.0.
From there, we launch almost immediately into “Stuck In A Car With You,” which may not be track one's twin, but is certainly a very close sibling. “World Class Entertainment” shows more variety, especially rhythmically, but also in tone and volume levels throughout the track. The chorus heralds a welcome broadening of the song; it's a tasteful, carefree ode to hedonism (are you kidding?), making the album feel a little more modern. This update of the sonic world comes at just the right time, and continuing to do the same would be too much.
The fourth track is “Sorry,” and this is where things get interesting. Here, Twin Atlantic slows down the tempo a bit and expresses their energy in a more subtle and mature way. It's a passionate power ballad. Sure, it's still as epic as ever, especially the thumping drums, but it settles into a more comfortable groove. Sam's emotional vocals sound more natural here. It all fits together nicely.
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“Harder” continues to develop the themes it is developing, but perhaps a little too much. There is a fine line between retro-inspired alternative rock and pretentious music. Each listener has their own opinion on where that line is, and it may also vary depending on the mood and situation. Perhaps I dismissed this song and its follow-up “Get Out” as filler on first listen; the frequent lyric rhymes were a bit too much for me; but on a second listen I was more willing to accept it.
But we go ahead and there is no doubt that the title track “Meltdown” is the apex of the entire album. It is epic, expansive, fascinating and intriguing. The main musical theme that underpins the song is a slow guitar arpeggio that brings a rich richness and irresistibly captivates you. Meanwhile, the drum production is again, naturally, solid and powerful, putting the spotlight on a propulsive rhythm that emphasizes the keywords. “Please help me… don't run from myself. I'm panicking, and I don't want to disappoint you.” Plus, every crisp hi-hat accent comes through. Every element here is important and highly emotive, and the song retains the energy I've been talking about all along. Like “Sorry,” this song seems to take the band into a realm of confidence and ease; it elevates everything that's come before and shines a new light on everything.
The next two tracks show Twin Atlantic's versatility. 'I Couldn't Miss You Much More' starts with nu-metal guitar sounds, occasionally leaning towards noise but remaining restrained. It's ultimately another well put together anthem, but contains enough rhythmic and lyrical tricks to hold your attention as the album starts to move towards the end. 'Lift' brings in a bass guitar riff that feels straight out of the IDLES collection and some pretty frenetic speed, but both songs again succumb to easy rhymes and set piece chord sequences in the lyrics.
“Fall” returns to the excitement and energy that began the album, with some fascinating stop/start moments, coupled with textural touches of synthesizers and vocal effects that elevate the song and bring it all together nicely again. This makes for a great gateway into the final track, “Snow In Texas,” where acoustic guitar is heard for the first and only time. It's an immediate emotional hit, and Sam's languid, reverb-heavy vocals play a major role, setting the stage for some tear-jerking sing-along fun.
There are many moments of great songwriting on this album. But if those moments had been strung together more coherently, and some of the weaker songs had been cut down, the album could have been as good as or better than some of its components. Of course, in the end, this may not matter much. Twin Atlantic has chosen its own path, and there is a sense of freedom and joy here.
6/10
words: Phil Taylor
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