Reinvention was the key word for South London’s耻辱两年后，他们在解压缩时。试图在撰写大量成功首次亮相的后续行动时回到家中有意义的生活，赞美之歌, it was clear they needed to explore new sonic territory.
“For this album, I was so bored of playing guitar,” recalls one of the band’s two guitarists, Sean Coyle-Smith. “The thought of even playing it was mind-numbing. So I started to write and experiment in all these alternative tunings and not write or play in a conventional ‘rock’ way.”
Singer Charlie Steen, too, was desperate to change things up. Locking himself away in a cupboard painted in the album’s titular pacifying shade, he began documenting the psychological toll a startling workload had taken as lockdown bit on a band who’d toured hard and played harder since emerging from the fertile scene based around Brixton’s Windmill venue.
从Shame的大二专辑的发作开始，该灵魂搜索的结果令人震惊。与著名的制片人詹姆斯·福特（James Ford）在法国的La Frette Studios一起录制Drunk Tank Pinksees the five-piece take their gritty post-punk sound, fire it through a kaleidoscope and reassemble the disparate shards into something new. Angry, introspective and wildly ambitious, this is a more complex and nuanced record than their excellent debut, and the guitar playing is electrifying.
尽管赞美之歌欠英国泰坦的明确债务，四人的帮派, the sound of New York City is immediately audible here, although influences are wide-ranging. From the jittery art-rock discord of说话的头,Television和Parquet Courts to Wire’s lean post-punk dynamism, Nigerian high life and occasional flirtations with math rock, Coyle-Smith’s alternate tunings and irregular time signatures jostle for space with Steen’s anxious escapism.
铅单字母rears up from a cloud of feedback with a thrumming bassline and stabbing angular chords chopped out from Coyle-Smith Eddie Green’sStrats和Teles. The frantic wirey solo that winds through the centre of the song is claustrophobic and gripping, the revamped Shame sound explicitly progressive.
Steen gives a glimpse of the pervading sense of alienation on percussive second single Nigel Hitter. Readjusting to domestic quietude after spending most of his adult life on tour, the singer loses his shit over the unfamiliar smell of fresh linen and urges “Take the clothes off my back, they don’t seem to fit”.
尽管赞美之歌无情的直接是，后续行动有时感觉就像是对想法的令人眼花parg乱的轰炸。在卢顿出生的整个繁忙的狂热的狂热的节奏即兴即兴演奏，揭示了Coyle-Smith和Green的工作重塑他们的声音，这首歌会改变不止一种引人注目的齿轮，Steen在其反射慢构建中段哀叹“I’ve been waiting outside all of my life, and now I’ve got to the door, there’s no one inside”.
Snow Day在查理·福布斯（Charlie Forbes）的圈套模式舞蹈过度舞蹈时，缠绕一条circuited绕的，几乎是自由形式的路线，转向说话，使他的沮丧light叫，在被取代之前，节奏转移和即兴演奏，转移到生活中。
Human, For A Minuteis a departure to hazy disco bliss, its bassline playfully funky and Steen suddenly hushed, almost gentle as he admits to being “half the man I should be”. The shimmering guitar interplay brings to mind Television’sMarquee Moonvia their New York disciples国际刑警组织.
Following that beatific interval, Shame double down on a ferocious intensity that surpasses their debut. The 120-second thrash伟大的狗witnesses some furious riffing and6/1同样喘不过气来，不再长时间，Steen表达了自我鞭打的核心Drunk Tank Pinkas he offers: “I hate myself, but I love myself”.
惩罚数学摇滚乐的开幕式Harsh Degrees在火星伏尔塔（Mars Volta）的记忆中搅动记忆，并在锐利的残酷行为中，与福特（Ford）会议的创造力被捕获在闪烁的旋转延迟质地中。
The upshot of all this overarching ambition, stylistic expansion and simmering disaffection is a sometimes uncomfortable listen. Certainly, the overwrought air that shrouded the writing has permeated these songs, and listening toDrunk Tank Pink在耳机上大声的声音有点像在别人的惊恐发作中被扑打。这并不是说这不是一个完全令人着迷的听。
By the end of the steadily unwinding grandiose closerStation Wagon，斯蒂恩（Steen）凭借其隆隆的低音和合唱背支持人声，扮演着一名火力传教士的角色，唤起了詹姆斯·迪恩（James Dean）和阿特拉斯（Atlas）。看着天堂，他邀请我们“举起我的裤子，亲吻我的耳垂”。这一切都达到了令人不安的渐进式渐进式，然后将专辑开始并淡出的同一反馈的简短呼唤。
You’d be forgiven for taking a deep breath, and at the conclusion of these terrifyingly honest, boldly creative 11 songs, you’re left to marvel at the distance Shame have travelled.
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