The Disconnect – Holes

18034182_1324754234274569_4651358025878303888_nI don’t usually talk about music on this blog which is odd, given my past in the industry. I should do it more often, I think.

But I’m already drifting off the point.

The point is, The Disconnect are, on the face of it, absolutely not my kind of thing. It’s clear that their influences are deep within a genre that I find musically redundant. In fact, when that genre became popular, I stopped clubbing as I couldn’t bear the noxious caterwauling that passed as talent. Call me old fashioned – but I am a fond a lyric that can be heard, deciphered and digested. I like melody. True, my taste in music can be pretty extreme in other ways, but I’ve never really been big on . . . well . . . this sort of thing.

On the face of it, I should consign The Disconnect to the bin and just forget about them…

Except . . .

The Disconnect have pulled off a minor miracle in taking a genre I loathe, twisting it round their psyches and throwing out some truly riotous music. The latest single/song/download/video (whatever ver kids say these days) ‘Holes’ is a bloody amazing.

Listen . . . I’m not a fan of those growling voices. Usually a bit of a turn off, but there’s a raw, guttural, primal energy here that frankly gets my bladder in a bit of a kerfuffle (in a non-‘Tena For Men’ kind of way). There’s a beautiful moment at 1:36 where James’ voice just cracks and loses its growl, for like a eighth of a second. That, somehow – and against all description – makes the performance human and vulnerable and frankly damned sexy. It happens again later on in the song – which is where the bladder thing kicked in. Seriously, that voice is like being fucked in the eye-socket by an angry neanderthal and then demanding more . . . not that that’s the sort of thing I’d usually find sexy, but you take my point . . . ahem.

The guitars are intense, muscular and a world away from Andy’s previous much poppier in comparison band ‘Marla Black’, whose track ‘Wednesday Addams’ is an all time favourite. But what is fascinating about The Disconnect is their sheer range. ‘Holes’ takes in about four different styles, ‘Cages’ and ‘Gallows’ between them take in another half dozen, but the songs never feel cluttered or laboured or like they are trying to be ‘clever’. That, I think, is the big problem I have with other bands in the same (or similar) genre; the desire to be seen as ‘clever’. While I can appreciate the virtuosity, the flipping between styles often gets in the way of enjoyment. To me it usually sounds like Prog with a hard-on. With The Disconnect, though, the transitions are seamless and apropos; it never feels like they are trying to make a point about how clever they are; it never feels laboured. It’s just how the songs naturally flow. And that rhythm section, by the way, is a thing of absolute joy.

Lets be honest, the music here is clever. It’s intelligent, visceral and at times breathtaking, but it’s never dull or worthy.  Despite skirting my most loathed of genres, The Disconnect offer something different, surprising and something that elevates them way beyond above the standard fare. ‘Holes’ itself is expansive, cinematic, brutal, and vulnerable. 

And quite, quite beautiful.

More please!

*

At the time of it appears to be available on all digital platforms except Amazon.  Which is annoying as Amazon is the only platform I use, so I’m having to content myself with  this youtube video for the time being. 

The photo is by Lovesick Media. If there’s a problem  using it, I’ll take it down, but it is a damned good picture…

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