Rocker (feedbot)
Platinum Member
There is a saying. Over a long enough time span the chance of survival drops to zero. It’s all about probability. The longer something exists the more likely it is to end. The same applies to bands. Eventually the magic fades. The more albums you release, the higher the chance that you’ll click your fingers and there won’t be a spark. As Citizen release their sixth album ‘Halcyon Blues’ you find yourself holding your breath, waiting to see if there’s magic…
Back in 2013 Citizen found themselves as part of an emo revival, not stadium emo, but the kind of emotional music driven by downbeat, personal songs. Their debut ‘Youth’ sold itself along the same lines as Brand New, but on each subsequent album the sound evolved in fascinating ways. However 2023’s understated ‘Calling The Dogs’ found them drifting toward the middle of the road. It sounded good, the songs were strong, it contained the rock solid quality you’d expect, but something felt missing. This is different.
The album’s title ‘Halcyon Blues’ implies it’s about the sadness of peace and calm. This is true, yet songs like ‘Good Fortune’ and ‘Highs and Lows’ crackle with rediscovered magic. In fact, all the songs do. A sense of mischief is woven through the track list, counterbalancing Matt Kerekes’ downbeat singing with a refreshed overall tone. It’s a shift that makes the whole band feel completely rejuvenated, a puzzle where every single piece slots into place.
Most strikingly the record has an incredible sound. It’s not the devil in the details, it’s the wizardry. Although the album was recorded by Kerekes it’s a combination of the sound mix by Tom Lorde-Alge that makes such a massive difference. Their previous records sound good, but this has so much presence and so much atmosphere they pale in comparison. Each instrument has its own space and every detail is picked out so beautifully can hear what it’s contributing to the song. Imagine a sunflower, or an eclipse, with a big, bold surface in the centre surrounded by a shimmering halo, that’s what the sound is like. It’s so striking it instils a slight sense of panic; but no, not all records sound this good. This is a work of art.
Due to the stunning production sound, and perhaps more than their previous records, this feels like a band effort. Everyone makes a defined and important contribution to the whole. As with 2021’s ‘Life In Your Glass World’ Ben Russin’s drums are a highlight. His playing style favours speedy snare hits, pushing the sound in a mechanical dance machine, a similar direction of the Strokes’ ‘Room On Fire’. It’s also notable how he uses rapid hi-hat taps, especially how it gives ‘Is It In My Brain’ a rustling, uncomfortable edge, neatly suiting the song’s subject matter. However, it’s the recording and sound mix really make it. The pleasing th-ub and snap have a delightful natural depth while the stunning floor tom sound on ‘Anne’ needs to be heard to be believed. When taken alongside the slightly distorted fizz of Eric Hamm’s bass it creates an intoxicating backbone that gives the band’s two guitarists room to express themselves. Throughout the album Nick Hamm and Mason Mercer interweave striking sounds that give each song character like the back-and-forth tremolo picking on ‘Is It My Brain’ or the effects-drenched attack on ‘I Can See You from Here’ but the smaller details like the soft pitch-shifting on ‘Good Fortune’ or the subtle delay that gives ’Either Way‘ its ghostly echo are just as important, making each feel like a rich and textured tapestry.
Matt Kerekes is a brilliant songwriter. You can hear it in his work with Citizen and also on his solo recordings. However, the thing about making music, the difference between a good record and a great one, is inspiration, there’s plenty of that here. That glimmer of an indefinable something. Each song has it and strikes a neat balance between his tone of voice, melodies and lyrics. Songs like ‘Halcyon Blues’ are built around a softer vocal while he leans into a harder sound and shouty sections on ‘Highs and Lows’. ‘Ether’ even features what passes for a rousing chorus. Although he wraps his voice around downbeat phrases like “Do you feel happy” and “No Good for me,” the tone isn’t gloomy. It’s emotional without a sense of alienation.
During the record’s second half the band explore nosier sounds that hark back to their ‘Youth’ era while retaining this record’s updated edge. In many ways the songs feel pleasingly, and softly, experimental. ‘Highs and Lows’ dips its toes into soft, throbbing electronics to create a sense of atmosphere while ‘Matador’ dives headfirst into a chaotic blend of noise, stop/start structures and electronic tickles that sees the band claim new territory. Helpfully, it’s also great song, and that’s what the trick is, that’s where the magic lies.
Citizen have clicked their fingers. ‘Halcyon Blues’ has so much spark it practically sets fire to their sleeves. The magic is clear; Great songwriting, stunning production and newfound enthusiasm. Sadness rarely sounds so good.
IAN KENWORTHY
Back in 2013 Citizen found themselves as part of an emo revival, not stadium emo, but the kind of emotional music driven by downbeat, personal songs. Their debut ‘Youth’ sold itself along the same lines as Brand New, but on each subsequent album the sound evolved in fascinating ways. However 2023’s understated ‘Calling The Dogs’ found them drifting toward the middle of the road. It sounded good, the songs were strong, it contained the rock solid quality you’d expect, but something felt missing. This is different.
The album’s title ‘Halcyon Blues’ implies it’s about the sadness of peace and calm. This is true, yet songs like ‘Good Fortune’ and ‘Highs and Lows’ crackle with rediscovered magic. In fact, all the songs do. A sense of mischief is woven through the track list, counterbalancing Matt Kerekes’ downbeat singing with a refreshed overall tone. It’s a shift that makes the whole band feel completely rejuvenated, a puzzle where every single piece slots into place.
Most strikingly the record has an incredible sound. It’s not the devil in the details, it’s the wizardry. Although the album was recorded by Kerekes it’s a combination of the sound mix by Tom Lorde-Alge that makes such a massive difference. Their previous records sound good, but this has so much presence and so much atmosphere they pale in comparison. Each instrument has its own space and every detail is picked out so beautifully can hear what it’s contributing to the song. Imagine a sunflower, or an eclipse, with a big, bold surface in the centre surrounded by a shimmering halo, that’s what the sound is like. It’s so striking it instils a slight sense of panic; but no, not all records sound this good. This is a work of art.
Due to the stunning production sound, and perhaps more than their previous records, this feels like a band effort. Everyone makes a defined and important contribution to the whole. As with 2021’s ‘Life In Your Glass World’ Ben Russin’s drums are a highlight. His playing style favours speedy snare hits, pushing the sound in a mechanical dance machine, a similar direction of the Strokes’ ‘Room On Fire’. It’s also notable how he uses rapid hi-hat taps, especially how it gives ‘Is It In My Brain’ a rustling, uncomfortable edge, neatly suiting the song’s subject matter. However, it’s the recording and sound mix really make it. The pleasing th-ub and snap have a delightful natural depth while the stunning floor tom sound on ‘Anne’ needs to be heard to be believed. When taken alongside the slightly distorted fizz of Eric Hamm’s bass it creates an intoxicating backbone that gives the band’s two guitarists room to express themselves. Throughout the album Nick Hamm and Mason Mercer interweave striking sounds that give each song character like the back-and-forth tremolo picking on ‘Is It My Brain’ or the effects-drenched attack on ‘I Can See You from Here’ but the smaller details like the soft pitch-shifting on ‘Good Fortune’ or the subtle delay that gives ’Either Way‘ its ghostly echo are just as important, making each feel like a rich and textured tapestry.
Matt Kerekes is a brilliant songwriter. You can hear it in his work with Citizen and also on his solo recordings. However, the thing about making music, the difference between a good record and a great one, is inspiration, there’s plenty of that here. That glimmer of an indefinable something. Each song has it and strikes a neat balance between his tone of voice, melodies and lyrics. Songs like ‘Halcyon Blues’ are built around a softer vocal while he leans into a harder sound and shouty sections on ‘Highs and Lows’. ‘Ether’ even features what passes for a rousing chorus. Although he wraps his voice around downbeat phrases like “Do you feel happy” and “No Good for me,” the tone isn’t gloomy. It’s emotional without a sense of alienation.
During the record’s second half the band explore nosier sounds that hark back to their ‘Youth’ era while retaining this record’s updated edge. In many ways the songs feel pleasingly, and softly, experimental. ‘Highs and Lows’ dips its toes into soft, throbbing electronics to create a sense of atmosphere while ‘Matador’ dives headfirst into a chaotic blend of noise, stop/start structures and electronic tickles that sees the band claim new territory. Helpfully, it’s also great song, and that’s what the trick is, that’s where the magic lies.
Citizen have clicked their fingers. ‘Halcyon Blues’ has so much spark it practically sets fire to their sleeves. The magic is clear; Great songwriting, stunning production and newfound enthusiasm. Sadness rarely sounds so good.
IAN KENWORTHY