Twin Atlantic - Vivarium [Mini-Album]

Red Bull Records

September 29, 2009, 12:52 PM

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I'm so glad I like "Vivarium," my band played with Twin Atlantic last year and they were one of the most genuinely friendly groups we've ever had the pleasure of meeting, so it gives me great pleasure to say that on the whole "Vivarium" is a success. Twin Atlantic's decision to release a rather lo-key "mini-album" is a strange one indeed. Settling somewhere between an EP and a full length and clocking in at a healthy 33 minutes, "Vivarium" doesn't quite classify itself as the bands debut proper, more a taster of things to come. A couple of tracks could quite easily have been added to make up the numbers but one assumes that would be missing the point. The idea is to leave us wanting more, it's a frustrating concept and I loath to admit this but it sort of, kind of, almost, works!

Forgetting the records classification and label for a second though (red bull. I know, what the fuck?) let's focus on the music. Single 'Light Speed' is a clever choice of opening song as (though it's far from the best song the album has to offer) it's easily the most immediate and commercial song in the bands repertoire, with defiant lyrics destined to be echoed across the nations stadia - "they're never gonna get us all, they're never gonna get us free". It's an anthemic pop-punk one / two punch with a deep, wandering bass-line, an infectious chorus and some diligent fretwork and makes for a terrific first impression. 'Old Grey Face' finds the band on more traditional hardcore pop-punk ground and is probably the most disappointing song on the record, it's far from awful and the lyrics are certainly inventive - "I built myself a car, it crushed my knees," but there are no real hooks and while the barn-storming, riff-centric bridge is admittedly pretty powerful, it sounds frankly out of place, almost like a botched cut and paste job.

Latest single 'Your Turning Into John Wayne' seems to rally against American globalisation in a refreshingly articulate and heartfelt way. It's moody minor chords and simple, heart-on-sleeve melodies almost bring to mind the reflective emo-Americana of Deathcab for Cutie and singer Sam McTrusty's (great name) thick Glaswegian accent holds even more sway here given the songs subject matter. McTrusty's vocals are a point that may prove a divisive factor for potential fans of the band, it's almost like a cross between Biffy Clyro's Simon Neil and Placebo's Brian Molko. So we're basically talking a thick Scottish accent with an accentuated, whiny high end. I personally like his voice a lot and think it's individuality is one of the bands main strengths, others though may disagree. The bizarre tempo-shifts at the bridge seem a little like an attempt at forcing edges onto a song that doesn't need them but otherwise this is a solid song, it's hardly the song which will provide the band with cross-over success but it should at-least help consolidate their already expanding fan-base.

'Caribbean War Syndrome' mixes things up a little with an injection of drastic, loud-quiet-loud dynamics which prove a welcome respite from the sugar-rush of the opening trio. The song's dark and light sides trade blows for 3 minutes before the song breaks into a gently building and graceful closing section. At 6 minutes it's the albums epic centrepiece and manages to assimilate elements of post-rock and prog without ever 'going off on one'. 'What Is Light? Where Is Laughter' shows yet another side to the band with a sombre, melodic verse section (complete with mournful cello supplied by multitasking guitarist Barry McKenna) which folds into a punishingly heavy chorus. The arpeggiated guitar patterns and clockwork rhythms here reminded me of The Appleseed Cast and although the chorus was lacking in hooks, it's sheer power picks up the slack.

'Human After All' is another pacey effort but here it is undermined by a tense, brooding atmosphere. It's a structurally sound song and there is a really smart, dramatic section before the final chorus, but it feels like more of an idea than a song. Stripped of all it's clever dynamics and dramatic pauses I doubt it would have much of an effect, special note must be made of McTrusty's pronunciation of the word "Woman" here though ("woomun"), great stuff. 'Audience and Audio' is another song which feels slightly undercooked, the bass-lines here are great and provide the song with it's primary hooks but the vocals are predictable and the angular guitars have been overused by this point. Without any solid melody or part to latch onto the song just drags and ranks amongst 'Old Grey Face' as one of the records most disappointing efforts. Closer 'Better Weather' finds Twin Atlantic going all Snow Patrol on us, but wait, don't let that put you off. The softly sung vocals and tired, clean guitars weave a delicate path through tuneful feedback which lends the song a unique atmosphere. It might lack the punch, catchiness and clarity of the albums first half but it shows the band are willing to play with their sound, which is admirable.

So a solid start then, no more no less. I get the feeling that Twin Atlantic held off labelling this record as their debut album purely because they think they can do better, and they certainly can. That's not to say Vivarium is a disappointment though, indeed it's anything but, the seeds have been sewn here for a promising career, a career I shall be following with optimistic pride.


Tracklisting:
1. Light Speed
2. Old Grey Face
3. You're Turning Into John Wayne
4. Caribbean War Syndrome
5. What is Light? Where is Laughter?
6. Human After All
7. Audience and Audio
8. Better Weather

Recommended:
Light Speed/You're Turning Into John Wayne/Caribbean War Syndrome/What Is Light? Where Is Laughter?/Better Weather

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