Patricians Come Down lead the way with original songwriting and a creatively free approach to musicianship on this latest EP release. Bringing together a gritty, near-grunge-like instrumental set-up with a song that feels a little more Drinking In LA than anything else at first, Attention Declared Hyperactive Order kicks off the project and grabs your attention in an instant.
The sound is unique, original right now – and impossible to ignore. With that though, just the right amount of melodic satisfaction intertwines with a definite artistic aura and sense of depth. By the latter half, the sound is a little more in the field of Pixies – the lyrics hold tight to your attention, and the various colors and moments within the soundscape help captivate further and build a strangely intriguing level of connection. That indie-rock aura was a mere front for something much more considerate and conceptually provocative.
I haven’t come across an indie band that appeal this intensely in quite a while. There are acts such as Courtney Barnett who follow a similar performance style, but there’s something about this style of songwriting, this sense of structure, this inherent evolution within each of their songs. Even the leading voice, and the words it presents – these songs are deeply personal, relatable yet expressed in new and profound ways. Yeah, Same is the perfect example, a brilliant track that entrances you with every line that pours through. A simple, mellow rhythm and a few flickers of instrumental weight help create contrast and support an otherwise solo vocal outpouring that’s incredibly passionate and powerful to witness.
They say it takes real life experience or struggle to write or create something that connects and refreshes contemporary minds – or any minds, for that matter. Patricians Come Down seem to drive with this sort of realness, injecting a hit of that organic, burban songwriting and expression into everything – representing the suburban lands between lands, presenting realness or perhaps tiredness with the mundane nature of the rat race. Dinner Always Starts at 7:30 follows on as the perfect encapsulation of that concept.
Beautiful guitar riffs rain down in a classic emo-rock fashion, and meanwhile – this near-rap style vocal delivery drunkenly or sleepily pours these freely meandering lyrics into the process; painting clear yet emotionally loaded scenes before you. Occasionally there’s a moment of familiarity, a thread to hold on to, but that desire to be free from expectation or rules always wins in the end. The band design their own sound, they express from a place of needing to – the songs had to be written; they weren’t merely a means for gathering fame. You can hear this realness in everything from the instrumental set-up, to the unapologetically honest words, to the tone and personality of the leading voice.
Further refusing to adhere to set scales or predictable practices, This IS NOT an Exit provides the perfect example of a song that’s almost recognisable, but that actually could not be further from familiar if it tried. Haunting riffs and hints of intensity cascade around you. It’s heavy, but it works well to hypnotize you – quickly moving you from uncertain to addicted, and leaving a strangely unbearable silence when it ends. A genuinely unique composition that’s actually quite stunning to listen to at volume.
The final track on the album is one that sees the lead singer reach impeccable new heights of emotion and grit. A rhythmically engaging song, I’ve Made My Bed, but I Chose to Sleep on The Floor builds up beautifully. That voice is superb, the lyrics scream out to you – the whole thing feels incredibly real, honest, vulnerable; as if this is a genuine moment of intimacy being witnessed – as if this would be happening whether you could hear it or not.
A superb song, completely immersive and again addictive to have fill the room. A second listen is essential to truly let these ideas and this moment of expression connect to the fullest. A definite highlight, a personal favourite, and the perfect way to end an unquestionably original, refreshing alternative rock project.