Knowing What You Know Now- Marmozets (26th January, 2018)

WORDS: Joanne Gray

I thought it would be appropriate to start these reviews with the band who are the inspiration for the blog concept. I can safely say that their debut The Weird and Wonderful was a life changing album  for myself and is one of my favourite albums of all time. It's safe to say that my hopes were exceptionally high for this release. I wasn't alone in having such strong feelings about their 2014 release however. Marmozets were riding the crest of a wave, ending up on the main stages of Reading and Leeds festivals in 2015. It was here that this all changed. Vocalist Becca received a knee injury which left her bedridden for months afterwards, halting the band's momentum until they returned in 2017 for some live shows. Then they released Knowing What You Know Now earlier this year and the context behind its production proved to be crucial to the sound of this album. Produced by Gil Norton (of Pixies, Foo Fighters and Feeder fame), it became clear that the album would be going into more 'alt rock' territory compared to their debut which was produced by Hundred Reasons guitarist/vocalist Larry Hibbit.

Opening track Play was also the first single from the band in 2017, and their first release for several years. Indicated a change in the production style from the get go, the beginning vocals of '1,2, 3, Play' is looped for several seconds until the guitar riff comes in. This riff mimics the vocal melody in typical Marmozets style. There is a hint of electronics throughout the track, with a compressed sounding drum pattern and guitar line which reminds me of New Noise by Refused. Alongside this, probably the most notable change here is more produced sounding vocals, which I immediately took a dislike to. This song was definitely a bold statement upon its release, and it certainly took me a couple of listens (or ten) to get behind the different sound of this song. But with the strength of the danceable beat and that killer guitar riff alongside lyrics of wanting to 'die to own this room, I need this more than you', there's an interesting juxtaposition here that I now really like. I would say this song is like a halfway point between the sound of their debut and the new directions of this album, therefore it was definitely a perfect first single for the band.

Habits follows a similar sort of pattern, beginning with some strange feedback electronic noises which lurk throughout the song, followed by a massive sounding riff which continues throughout the song. This is a darker song from the first, for sure. The drums drive the chorus, with the lyric 'I get carried away, the day is gone, I want you to stay with me' sounding particularly vulnerable. I really like the bridge section in this song which drops down to minimilistic guitars and drums, which gradually build up in intensity to the yells of 'Lies, lies, lies, lies, lies'. Everything sounds so powerful here. And then, the problems arise. I'm not a fan of the production on the vocals at the end section, which seem to crop out of a lot of the low and mid tones, leaving these unnatural high sounds. This occurs earlier in the song but is less obvious than here. It is safe to say that my feelings towards the production on this song, and that of the album as a whole, were and continue to be the main problem, and this became evident to me in the ending of this song. Production aside though, this song will be great live I reckon.

Production is less of a problem for me in the next track Meant To Be. The riff on this song could be heard as far back as their Reading performance in 2015, therefore the band have had this song in their locker for a long time. Driven by groove laden drums, this song has a dance-ability which is similar to Play. Although I can hear the clipped vocals during the verses, the high abundance of screamed vocals in this song and the hugeness of the riff makes it less obvious than in Habits. I feel that this song has a raw energy, particularly in the chorus and bridge section that is more reminiscent of their debut, which I suppose makes sense if they've had parts of this song written for a long time. The end section of this songs sounds ferocious with Becca giving the wildest sounding scream in the full album here. This song will definitely translate well into the live environment and I like this song a lot.

The third single Major System Error is still difficult for me to review, even months after the album release. I feel that this song is the one plagued most by that type of production that I don't like, but I can't deny that it is interesting and catchy in places. There are some strange falsetto vocals through the song which are only emphasised through the overpowering production and accompanying guitar lines. Perhaps controversially, I think that the chorus of the song is perhaps the most 'mainstream' Marmozets have sounded up to this point. The turbo drum and bass, electronic sound with simpler sounding lyrics could've been written by Pendulum. This isn't a bad thing in itself, as it is far from boring. It just isn't really to my taste. I think that the production here holds the most issues on any song on the album for me but I'm curious as to how this will sound live. Maybe it's the production more than anything else for me rather than the song itself. I'm not sure. Nevertheless, this song will probably be successful in gaining new fans for the band, so it's swings and roundabouts, I guess.

Following this is Insomnia, which is without a doubt the strangest song Marmozets have released to date. Coupled with dreamy, psychedelic guitar lines and minimalist drums are Becca's vocals which sound childlike, high-pitched and just odd. Along with lyrics like 'I like to see sleepy people walking every step', the effect is overwhelming, disorienting and eerie. I must admit that I hated this song when I first heard it. I didn't like the effects and I thought it just sounded stupid. Turns out I was the stupid one. With more listens, I finally understood. The weirdness and creepiness is the point. The song ebbs and flows from gentle and soft musically to this huge, almost orchestral song in the last third of the song. This song is such a trip which wouldn't sound out of place alongside some of the weirder, shoegaze embracing bands of the 90s (Sonic Youth and My Bloody Valentine are the ones which come to mind the most). Definitely the song which has grown the most on me in the album and I'm curious to see what this will be like live.

Ramping up the volume and tempo, Lost in Translation brings back a sense of attitude and energy that first made me fall in love with this band. There is a groove to the verses here in the drums and vocal rhythms that I just adore. The lyric '3177 I'm alone again, no one here to be my friend' conveys a similar sense of frustration and loneliness evoked throughout the album but this one is backed up by heavier instrumentals and grittier vocals during the verses and pre-choruses. There is a danceability to this song though, particularly in the chorus where 'I'm lost in translation, I need my mates in' sounds almost joyful. The whole song builds up to a point around the 3 minute mark where screams of 'I'm dreaming of you, of you, of you' are supported by punchy instruments and sounds really cool. I can imagine that this song will receive the most energy from the crowd if this is introduced into their setlist. For me, this is one of the best songs on the album.

I hate to say that the quality then drops with the next song Start Again. Beginning with similarly weird sounds, yells and a pounding drum beat, the start is promising but the verse which follows it feels lackluster for a band of this quality. This song lacks any real bite or hook for me that I almost always want to skip it. This is a song which I find similar to Major System Error that would work well for most radio stations, but whereas I didn't like the production or style of the former, I am just quite bored by this one, which is something that I didn't think I could say about Marmozets. Although the chorus is big, it just doesn't grab me, and out of all the songs, this song excites me the least and is the weak link in the album for me. Not much else I can say about it really.

Following this, Like A Battery could barely be any more different. Powered by a marching style fuzzy bass, electronic tinged drums and bratty vocals from multiple members of the band, the verses have a punky kind of vibe that I really like. With drum grooves, a bass heavy sound and lyrics such as 'The kids in the street they all know what to do. They're used to it like it aint nothing new. One day they're gonna run your country too', the verses play out like a modern day London Calling. The song is filled with surprises, as the chorus lays some strange effect laden guitar lines underneath more melodic but equally scathing lyrics about struggling to 'get by'. This is followed by an electronic driven guitar breakdown around the 2 minute mark, followed up with a quick old time piano line. There is just so much to this song, yet each part feels like they belong together and I think it's really great.

This cohesiveness is something which lack on New Religion however. Going straight into a quirky vocal line with a matching guitar line in the style of Why Do You Hate Me?, it's a promising start. There's enough edge and pace, to keep this section of the song interesting in addition to odd falsetto vocals. All of this leads up to (or down to, in my opinion) a weaker sounding chorus however. There isn't really much there that really sticks in my head, which is a shame because the verses are really good. This continues with a bridge that quite frankly sounds like it shouldn't be there. Out of all the songs on the album, I feel like this one is the least developed as the choruses and bridge section end up sounding rushed in comparison to the rest of the song. I do like when the main riff comes back in at the end hardier and heavier, in typical Marmozets style. But it's not quite enough to stop me feeling like this song could've been improved by creating a more consistent song where the chorus can keep up with the verses.

Me & You then begins a run of three fantastic songs to end the album, which for my money makes it the most consistent section on the album. The song is reminiscent of Cry from the debut, but instead of being driven by a piano, it's gentle guitar chords and a faint drum track that underlies this song. The vocals are the centrepiece of this song, and for good reason. Reminiscent in style to Florence and the Machine, the lyrics describe the death of the MacIntyre siblings' grandmother in 2014 and this song is a perfect example of musical catharsis. The stripped back production of this song allows the rawness of Becca's voice to resonant on a personal level. Lyrically, this song is stunning. Opening with: 'I made it there just in time to say my last goodbye. Heaven stole her for glory while I'm left on the other side', sound simply poetic. When the song builds to the line: 'Faith don't leave me to hear your voice again' , Becca's vocals crack and the guitar surges and then it recedes again, which just showcases the rawness of the moment. Throughout this, a sense of heartbreak is contrasted with a hope that one day they'll be together again. The first time I heard this song, I was struck by the emotions of the song, and even before I knew the subject matter, I was floored by this. Just incredible.

Next is a song which I have been obsessed with since I saw the band play it in St Luke's a few months before its release. Suffocation starts with this killer guitar riff which has grooves and bends for days, which is very much my kind of thing. When the whole band comes in, this song just sounds colossal and I get such a rush every time I hear it. The vocals are delivered by both Becca and Sam during the verses in a way which manages to sound tortured, proud and snarky at the same time. The pre-chorus brings in an odd guitar line which underpins vulnerable yet powerful vocals and the gradually quickening drums lead to a chorus which has been in my head for months. 'I feel suffocated. Treasure, poison. It's not that bad' is delivered with such conviction that I don't know how anybody could not get swept up in it and relate to it. I really hoped that this song would sound just as amazing as it did when I saw it live months prior, and I was so happy that it sounds just as great on record. I will be shocked if this song isn't in my top songs of the year and I will lose my mind to this song if I see it live again. Wow.

To top it all off, the fourth single Run With The Rhythm is a wonderful closing song to an album which takes you through one hell of a rollercoaster ride. The songs starts with just one guitar and two harmonising vocals of Becca and Sam, which again brings Florence and the Machine vibes to the melodies. Lyrically the song reminds me of Captivate You, directly addressing the listener and assuring them that things can get better. A sense of vulnerability is present on this song like it is in much of the album. The line 'I'm not a saint cause I feel pain' works well as a summary of the general themes of the record. The song builds to a pulsing chorus of 'Run with your freedom and run with everything you still have left', which links the band's ability to move on from their experiences and struggles over the last few years to the listener. The chorus here sounds absolutely anthemic and I can imagine this will feel amazing to experience live. Marmozets really can write a killer end track.

In saying all that, and after months of living with this album, it leave me quite conflicted as a whole. It is clear here that Marmozets have matured, both as musicians and as people, something which should be expected and applauded given the stale state of rock music over the last few years. It's also difficult to imagine going through the things that band has over the last few years without it having an impact on the following album. Lyrically, this is a very personal and sometimes very dark album and I love that the honesty of Becca as a lyricist shines through here. Musically, this album is also far more diverse than anything the band have produced so far, and they have almost entirely moved away from the aggressive math tinged music they began with. I can't help but see this as both a positive and a negative. Their debut holds such a strong place in my heart that some of the changes are difficult for me to accept. Primarily, I dislike much of the production on this album, and upon many, many listens, this hasn't really changed. I understand and appreciate that the band will probably now receive the plaudits they have always deserved, but a sizeable part of me wishes that this could have happened back in 2014. Although there are some wonderful songs on this album, I feel that it is less consistent than their debut and I enjoy it less as a single body of work. Nevertheless, I fully recommend listening to this album as there is just so much to receive from it. There really isn't another band quite like Marmozets.

Thanks for checking this out and leave any comments below, if you so wish!