From lyrical weirdness through uninhibited musical expression, Can’t Wait consistently keeps listeners engaged, often on their toes. Contrast is utilised brilliantly, droning moments of quiet desperation are juxtaposed by sudden passionate outbursts and increasing tempos.
Sometimes things get intimate, other times they stand back and stare at the world, attempting to deliver an explanation.
The whole set-up feels brilliantly nostalgic, awesomely passionate – proceeding to whisper then scream out on behalf of your anxieties; always melodically, always with a certain poetic lyrical intention that again feels genuinely new.
In short, Tragedy Channel have crafted something unexpected – something that caters to our desire to re-live the nineties; those alternative rock hits that surprised and satisfied in ways we could never have predicted.
Effected vocals detail an intimate and somewhat harrowing story-line, laying bare a mid-album Nirvana vibe in many ways – these short phrases, rhyming couplets that kick hard and leave plenty of space for reflection in between.
“There is no music scene whatsoever on the Big Island of Hawaii and it is horribly depressing! This place really needs a scene and I hope to influence the younger kids to eventually break one open.”
The psychedelic, experimental aspects take over increasingly as the track goes on, ultimately evolving into a brilliantly hypnotic groove that’s somehow managed to be genuinely unique among today’s musical landscape.
Balancing delicacy and grit to a powerful degree, Medusa builds up from gentle, quiet beginnings, to the full-throttle and fast-paced vibrancy of classic grunge rock.
The issues we face today lay heavy on the mind, rightfully so, and art often seems like the only way to relieve ourselves of that weight. Pragmatic encapsulates a lot of those concerns, lyrically and in terms of the fullness and volume of the collection. A concept hard at work.
Things build, they twist and turn, and the latter half completely envelops its audience in a huge moment of intensity and anthem-like melody combined.
Black Income are insanely good at what they do. Rock has been hinting at making it’s return to the mainstream in recent years, but this release marks its official move from a hint to an absolute promise.
Imbred always writes with his truth – always, without fail; it’s a rare and commendable trait. This album therefore arrives with a certain air of purity and honesty that just naturally flows through, and with that – the music stands a little taller.