An exploration of threaded obscurity, All Get Out return with a statement of technical and emotional excellence.
As the seasons begin to shift, my annual search for an emotional, thought-provoking album to close out the year has begun. Last year, Movements’ Feel Something was the cure to my itch, however, with none of the most recent releases engaging me in that way, with All Get Out’s latest LP I could be onto a winner. As the follow up to 2016’s Nobody Likes a Quitter, the band are back with an exploration of threaded obscurity, an album that feels to be a statement. All Get Out have somewhat flown unsder the radar since the release of their first LP, The Season, in 2011 but their time to be propelled into the spotlight could well be. Having been able to check out the band live in London last month, my love for All Get Out has only surged in recent weeks and just as I needed a new fix, No Bouquet arrived.
Rosè is unenviably tasked with opening the album. Immediately, the listener realises that this one is set to be something a little different. It opens in a measured and methodical fashion. Nathan Hussey’s vocals beautifully quiver through a series of delicate lyrics in a manner that almost feels reminiscent of Brand New. From here, the track slowly builds into a stadium-filling crescendo – the song physically elevates in your ears as you listen. The way this track falls from the epic to the personal is wonderful. Who knew desperation could sound so beautiful? You’ll Survive is my favourite track on the album. The way it inhales and exhales as the band flaunt their technical prowess is very impressive. From the crunching start to the flickering outro that sees a barrage of delicate imagery used to describe an alienated, dissatisfied subject struggle to work with their colleagues, this song is a triumph. The backing “ooohs” found in the pre-chorus are a wonderful addition to this song, giving fans of the band something a little out of the ordinary to marvel over. There is so much going on in this one, but it doesn’t feel scrambled. The lyrics are the spine of this song and are the reason why I fell in love with this album.
My chest pulled tight enough to choke me out of light / I haven’t been outside in weeks / I’m not missing out cause I’m awake for every inside joke.
Both Archives and First Contact open in a trademark All Get Out manner. The band are excellent at beginning their songs at an accelerated pace, wasting no time getting into it. However, the way they offer it with these two is a little different. Archives is a short track, that pulses as each instrument takes a turn in the foreground to keep the song moving. Each shifting to dance with Hussey’s vocals, the band’s trickery provides an engaging listen – one that seems to do more each time you hear it. First Contact opens with Hussey’s vocals tiptoeing over a couple of bars before the song is quickly whisked away. This is another favourite of mine from the album. There is an intimacy about this song as it continually changes tempo, providing the listener with flashes of emotion at each turn. The note hit by the vocalist during the lyric “I can feel each of us around” just epitomises this release, there is a feeling that everything these musicians have has been poured into this album.
Trip’s distorted guitar riff is outstanding. The song is just great. It has a bit of swagger about it and really stands out against the rest of the album. I find it interesting that it comes at the end as there is a real energy about it, something that is normally featured towards the opening half of the album. However, I really enjoy that the album ends with a bit of a kick. Namesake opens in an incredibly relaxed fashion. The opening 40 seconds are nothing short of beautiful, lustful and haunting. Before long, the song exhales and we find ourselves falling through the pulsing chorus. A song with a message of trying to hold onto love, the lyrics are, again, fantastic. Another must listen.
Every household noise is us, each floorboard creak sounds out the vowels of our names.
All Get Out released a lot of singles before finally unveiling their latest LP, but for me, the strengths of this album come from the songs that surround these singles. Despite this, However Long is my favourite. There is a lot going on with this song. The guitar in this track is particularly captivating, and the chorus boasts an engaging hook. It is clear why this one was chosen as a single, giving a first-time listener to the band a chance to see all the things that All Get Out do particularly well. In spite of this, I have struggled to click with Value and Self Repair. Both songs have a lot of redeeming factors about them – such as the guitar riff in Value and the incredibly infectious hook in Self Repair – however, I just don’t have the same affinity to them as some of the other album tracks. I enjoy listening to them, however, they don’t feel as personal. God Damn is a solid release with a gut-crunching outro that I hope to catch live the next time the band come to the UK.
The theme of this album surrounds the message that roses only bloom for two weeks out of the year, the other 54 weeks are spent in darkness and so it is important to embrace the moments of beauty and to find treasure in darkness. For me, this message is personified by the music of this album perfectly. There are dark highs and moments of sweet turmoil littered throughout this album and it gives the listener the opportunity to marvel over this album for its artistic qualities. I have been utterly infatuated by this record and unpicking each lyric has taken over my life for the past few weeks. A great band with a great message. I challenge you to find a more intimate album released this year.
4/5 Bytes. Callum Huthwaite.