Deaths

構成数 : 1
合計収録時間 : 00:27:25
Audio Mixer: Jonah Falco. Recording information: No Studios, Southend (06/01/2017-06/04/2017). Photographers: Owen Richards; Jamie Morrison. The third album in a trilogy of raw and real noise rock, Sauna Youth's Deaths is strident, exciting, violent, and strange post-punk filled with strutting energy, overflowing angst, and a laser-focused intensity. The band sound completely locked in at all times as they rip and roar through a batch of songs about politics, identity, and living in an uncaring city that's looking to bring you down at every point. The band's first two records were ferocious as well, but Deaths cranks everything up a notch or two and as befits the name, adds some bleakness to the mix. The overall sound of the album comes on like a pitched sonic battle as the guitars of Lindsay Corstorphine thrash like tightly wound machines, just barely keeping ahead of the oncoming crash of the rhythm section of bassist Christopher Murphy and singing drummer Rich Phoenix. Over the top, the sometimes chanted, sometimes passionately intoned vocals of Phoenix and keyboardist Jen Calleja (whose voice has a more prominent role this time out) try to corral the bucking tunes and sink hooks deep into the listener's brains. It's a bracing album, built out of a short span of writing songs and a very concentrated recording process that didn't leave a minute for mucking around. The songs hit fast and hard; sometimes coming to a screaming stop after a brief couple minutes of sonic assault. The double shot of "In Flux" and "Problems" are a typical couple of songs that make a huge skronking racket as they fly past at supersonic speed and the vocalists shout out slogans at the top of their lungs. It's not punk rock, but it's not easy listening. Even the quieter songs have some real bite, and the poppier songs, like "Personal Space" or "Leisure Time," sound so blown out that if they were ever played on the radio people would question whether their speakers had just died a fiery death. Only the brief spoken word pieces -- "The Patio" and the spooky "Swerve" -- take a break from pummeling the listener in tender spots; only "Theatre 83" has some humor as Calleja runs through a sarcastic litany of all the people who have been "like a father" to her. Even with these two semi-respites, Deaths is a seriously fiery album that pushes the temperature right to the point of flammability and further cements the band's place as one of the best noise bands of their era. ~ Tim Sendra