Butt Babies! Well, that was the original band name for Protomartyr and this reviewer can’t work out whether he prefers the former or the darker, more brooding latter. This bit aside, Protomartyr have released their fourth studio album. But how does the Detroit-based group’s latest material hold up in Relatives Of Descent?
Eerie and slow, but with chaotic drums, melodic but discordant, spoken words but with speed and rhythm…yep, we’re definitely in the realm of post-punk as crafted by Protomartyr. “A Private Understanding” opens the album and lurches and lunges between this soft melancholy form and its thrashing, distorted bridges and breakdowns, setting itself firmly apart from the true punk roots they’ve spawned from. It’s definitely interesting.
Later in the album “The Chuckler” comes in much the same vein. Sudden alterations in structure with deep and melancholy lyrics being broken up by wailing guitars; it’s a recipe for an excellent song and potentially the strongest track on the album.
As with much of the album and indeed, punk as a massive umbrella, social commentary both in the intimate and political senses are rife in the album. “Here Is The Thing” is loaded with your typical punk commentary on money, ‘The Man’ and profits in general; all spoken rhythmically over staccato guitars and complex rolling drum beats. It’s undeniably catchy and will get toes tapping in agreement.
Perhaps a nod in name as much as body here, “Windsor Hum” gives a very British punk edge from the American group. This song, along with its following track “Don’t Go To Anacita” are hugely reminiscent of legends like The Sex Pistols and The Clash, only with more of the polished cleaner sound that we’ve come to expect from our cousins across the water. In more of the vein of The Sex Pistols, we find “Male Plague” tucked away at the back of the album. Lyrically and musically it matches up, even if the vocals remain more polished than the distinctive Mr Lydon.
One of the main distinctions from the original punk forms is the more structured and melodic approach that post-punk can take. “My Children” is a perfect display of this, retaining all of the sounds you’d expect from punk, with exaggerated, arrogant vocals and growling, unclean guitars over a distorted bassline. More where this came from with “Up The Tower”. The same repetitive almost infuriating structure whips the verses and bridges into a frenzy of pounding drums and muted guitar before erupting into a chaotic whirlwind of distortion and some shouting vocals from lead singer Joe Casey.
The album is not without it’s weaker moments. Thankfully however, they are both short. “Caitriona” and “Corpses in Regalia” both add little to the album and are unmemorable at best and retrospective and agitating at worst.
Almost so dissimilar to the rest of the material thus far so as to seem out of place on the album is “Night-Blooming Cereus”. That said, it’s easily the top choice of track for this reviewer. The lyrics and vocals take centre stage and are poetic and musical, less spoken word and more actual singing. Although I usually hold a modicum of distaste for Morrissey’s influence being found in vocalists, I’ll eat my words and say it; it works here, and it works well. Place all of this atop an understated guitar melody and you’ve got a fantastic track.
The album tails off with a similarly structured track as well. “Half Sister” is dark and foreboding and leaves the listener with a sense of dread and residual simmering anger. Sounds unpleasant, but this is post-punk we’re talking about here.
Overall, Protomartyr have produced a strong album. There’s no real runaway success on the album liable to break out and storm the charts with the same punkish fury the band emulate, but it’s definitely a good listen.
Author: Steve, Southgate store
