Philadelphia alt-punk and grunge-rockers Thee Peecock Angels bring back the raw energy and appeal of alternative music, with their progressive and creatively memorable new album Meet the Beat Holes.
Employing strong riffs and catchy melodies intermittently with gritty punk outcries and subtle distortion, the project intertwines hints of influences from the likes of REM and Nirvana as much so as The Pixies and Even RHCP.
Perhaps the central lyrics of the opening track encapsulate the themes of this project best – “You can give your love. You can fuck your hate.” Meet The Beat Holes compiles unique anecdotes and broader topical themes, to ultimately celebrate the freedom of love and the power of personal choice. Andy has a Vagina (and I Love Her More Than Ever) introduces all of these qualities well.
For Hey Hey Hey Hey, the fusion of Nirvana and RHCP comes through in the gentle guitar line and brighter vocal and melodic thread, redirecting things from the heavier alt-punk of the opener. Then the pace kicks up for the high-octane I’m Not Hearing a Word You Say, a raw choir of voices backed by soaring distortion and power-chords. Things rise and fall, the story grips, the lower tones resound for the iconic title.
Guiltless is an easy favorite, enchanting psychedelic layers meet with an ear-worm of a familiar melody, a dash of Active Child nostalgia, with equal parts melancholy and optimism – plus distant vocal ‘oohs’ for character and contrast, and lyrics that again blend the obscure and the broadly relatable.
Darker haunting tones cascade for Kombucha & Oreos, the stories and scenes continuing to speak out and simultaneously showcase the creativity of Thee Peecock Angels. Then we get the anthemic artistry of Gateway Drug, a colorful to heavy grunge anthem that again marks a memorable highlight. Bed Mummy follows and brings melodic nostalgia through at just the right moment – as well as some captivating scenes and observations.
BooHoo follows brilliantly, we’re into a quality swing with the album by now, the music filling the space with the perfect balance of background warmth and focused contemplation. At which points it makes sense to mention that this quickly became a personal favourite project – the sort that requires more than a single sitting to listen through and actually write something, rather than just enjoy the music, but that’s another story.
Very Fringe brings the weight and pace again, subtle creative rhythm choices and scarce but striking vocals and riffs well-placed throughout an uplifting and energizing instrumental. Then we get a pop-punk anthem with a welcomed devotion to forgiveness, in Blow Me Like a Candle.
Gutter Politics is unexpectedly beautiful. Something Thee Peecock Angels seem to master is that balance between ambient embrace and lyrical strike – the titles of these songs imply a certain angle and direction, but it’s not merely about shouting down the listener; not at all. Each composition is a journey, hypnotic in its own right, and Gutter Politics marks a superb example of that.
The band pick up the tempo one last time, for an indie-rock edge that begs for you to witness it in the live setting. Thin Skinned wraps up the experience well, another thoughtful set of ideas, an empowered instrumental spread, and that all-round escapism rock fans forever crave.
Instrumentally as on point as its conceptual relevancy – Meet the Beat Holes is an easy must this season.
Grab the album via Bandcamp. Follow Thee Peecock Angels on Facebook.
