I have to admit, I was not fussed about SHAME’s debut record, ‘Songs of Praise’. Despite including the impressive single of ‘One Rizla’, I was not left either inspired or enthralled by the whole album of work when comparing to the other acts associated wit this recent Post-Punk revival. However I could admit there was something there, you could feel that the band could capitalise on what was deemed as a great debut (by others), potentially filled with some more fascinating and more spirited ideas…if they wanted to please me and get me into them!
The second record does does in fact answers my calls, it contains some great fun, interesting ideas and some very infectious and enticing melody writing that will grab the attention of anyone, who is enjoying this sound right now in Britain. The producer, James Ford, has to have a special nod as he has nailed it again, playing a strong role of helping to showcase g on what’s on offer and the whole album does sound really good. So yes, they did hear about my qualms and have sweetly delivered a record that shows off the tone of the band very well and enhancing the guys to be one of the most exciting and driven bands around.
The LP begins with a great feeling of the curtains drawing open, it has these urgent guitar tones calling out to us, making us feel excited for what is to come. The song is called ‘Alphabet’, which answers the fans worry of the frontman, Charlie Fobes, that he is still the cheeky and fun frontman that they have all fallen for, it’s a serious blast the first song on ‘Drunk Tank Pink’.
Then the fun and Talking Heads esq number, ‘Nigel Hitter', which is such a wacky couple of minutes! Hearing such an influence this time around feels so refreshing and authentic, there is no structured ambition this time around and it all feels incredibly inspiring. Eddie Green and Sean Coyle-Smith go off each other well with their guitar playing, it really sends us spinning and the full sound this song gets to, is epic and enthralling.
The opening riff to ‘Born in Luton’ is very intense and busy, however the song itself goes to somewhere else that I was not expecting. After some great drumming, the sense of rain that is being sung about (which took place when Charlie was locked out of his home after touring) arrives within the bass and guitars. This change of tempo, really delivers that flickering of thought when feeling stuck and alone, trying to find the answers on how to get going again.
Next we have what I would describe as a ‘jazz’ IDLES opening on ‘March Day’, the mod-pogo dancing track offers some light fun that gives SHAME such a more engaging angle to them. I love the energy here, the song offers such a great bit of nutty fun, alongside some awesome guitars that are definitely one of the highlights on the whole record.
The post punk outfit honestly deliver a lot on ‘Drunk Tank Pink’ and the single ‘Water In the Wall’ shows off where the band are, so strongly. It is a B-52’s meets The Clash affair and has some playful percussion choices, alongside Charlie seeming like he has having a great time singing on this track. SHAME really create a great wall of sound here, the backing cries and drumming really makes the song so full and passionate.
‘Snow Day’ does offer the first dull moment on the record, despite the busy instrumentation, it reminds me how I was not fully engaged with them after their first record. Following on, there is questioning on how much does one deserve love and the impact of the feeling from someone else can do, even to the point how it can actually make you feel like an actual human at last on ‘Human, for a Minute’.
The mood of it all is well needed and does not feel like too much of a rest, it keeps the quality up as it really gives you some interesting lyrics and some lovely guitar playing (also a cool keyboard within the mix during the outro).
We then go full out with such a bang on ‘Great Dog’, it really smacks you in the face again and again and again. The vocal delivery feels like we can feel the spit coming out due to its full on spirit, it is really a big hoot this one. The guitar picking over the rhythm guitar and cool sounding bass is highly infectious, then we also have lyrics of claiming of I hate myself and I love myself, which truly shouts out the message of self-acceptance well.
The way it flows into this epic riff on 'Harsh Degrees' is ammmazzzinggg, the garage rock like riff is filled with desire and takes this whole song for a ride so well. The chorus comes in like a punch and sends your mind going crazy, imagining the moshing you want to be experiencing at this point of the record!
The bass playing on ‘Station Wagon’ yearns to be graced by a Peaky Blinders montage, there's a sense of doom but swag to it that is obviously such a Shelby conflict of moods. The mixing of the vocals make you feel so close to it all and we are also treated to some moments of ‘spaced out’ backing vocals, the extra dimension of that is a a cool touch to the song, that keeps that sense of eeriness that closes off ‘Drunk Tank Pink’ incredibly well.
Written by Tom Bedding
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