The word “underrated“ is being thrown around way too much these days, but I feel like with All Get Out, using it is actually justified. The two-piece have been around for quite a while, yet they are still one of the lesser known bands in their genre. Maybe their most recent album “No Bouquet” can change that.
Starting out with “Rose”, a haunting, suspenseful atmosphere is created. The expectations are high; something dark and deep is about to wash over you in a wave of sensory overstimulation. Obscure lyrics delivered with vulnerable vocals fade seamlessly into piercing guitars and desperate screams. Conveying raw emotion is something All Get Out have mastered right at the start of their career and over time have been able to elaborate. Their ability to alternate between dynamics, going from whispering to yelling, from hurt and subdued to angry and brave without it sounding forced is admirable.
Being their most intricately crafted record so far, every song possesses an element or a characteristic that first draws you in -like that epic riff in “Value” or the chorus in “First Contact” that’s practically begging to be screamed along to-, only for you to discover something new with every listen. However, in most songs, the simplicity of the initial concept still shines through and you are able to distinguish the idea with which the song started out and what the band envisioned it to be.
Contrary to prior releases, “No Bouquet” is not tied together as closely by repeating melodies and lyrics, but rather by using figures of speech that are related to the album title throughout the lyrics. In addition to that, the concept of volatility is ever present in these ten songs. Finally, the last track “Trip” refers back to “Rose” once again, as vocalist Nathan Hussey blankly states “someone else is in my place” after disclosing that “suddenly [he] see[s] why [he’d] be easy to replace”. This definitely does not ring true for All Get Out as a band, since I have yet to find another band they could be compared to without changing several parameters.
Faultless Rating: ✔ ✔ ✔ ✔ ✔
Song recommendation(s): Value, However Long, Archives First Contact, Self-Repair
Has it really been a year already since the release of “You’re Not You Anymore”?
To me, it still feels like yesterday, but Counterparts know better than to let their fans wait for new music for too long. Their jokingly self-deprecating approach to the “Private Room” EP reveal indicates that nothing much has changed in their mindset.
The three songs are b-sides from both “Tragedy Will Find Us” and “You’re Not You Anymore”, but frankly, they don’t sound or feel like b-sides. Where TWFU and YNYA were pensive, an attempt at coping, comfort and coming to terms for both the writer and the listener, Private Room is more urgently aiming to resolve the issues. Tied to the previous full-lengths -among other aspects- by means of parallels in the lyrics (like in “Monument” / “Bouquet” from YNYA), it becomes obvious that the band put a lot of thought into this release.
When singer Brendan Murphy warned that they would not be slowing down, the ensuing expectations were those of a somewhat stagnant path for now, but this is a notable progression from prior works that feels like a whole new era.
Faultless Rating: ✔ ✔ ✔ ✔