Soular - Love Crash Heal
The city of Albuquerque’s previous musical pedigree is essentially nonexistent. Excepting The Shins (who were formed in the city); Albuquerque’s most famous connection to the world of music is in the fact that the city’s name was immortalised in the late eighties by Prefab Sprout in their crossover smash ‘The King of Rock n Roll’. The kookiness of the city’s name must have some bespoke appeal to songwriters, as Neil Young was suitably impressed to name a song about the place. However, precious little of this inspiration appears to have lent itself to Albuquerqian’s (I don’t know if that is the correct term for the city’s residents, but I’m having it because it sounds colossal!).
Soular are four young Albuqerqian’s with grand pretensions, they describe their sound both as “epoch rock” and as a combination of “modern melodies with interesting beats” and “huge arrangements”. So far, so glacial. Their influences too, make for intriguing reading; the band feel that there music “drinks from the same water as The Beatles, Radiohead, U2, Queen and Led Zeppelin, but maintains complete originality”. Call me pedantic, but surely such an arrangement is impossible? Nonetheless, it all makes for very impressive reading and to quote that ‘clean prophet’ Pete Doherty, Soular certainly “talk a good game”. But can their songs do the same?
Well, it’s a case of yes and no. Though unfortunately for Soular, it’s much more a case of no. That said, ‘Love Crash Heal’ is not without the odd redeeming feature. There is no doubt that Soular are accomplished at their craft. Their musicianship is unquestionable and there are rare moments within the album which showcase this formidably; the title track rumbles with a bass heavy, rhythmic bombast, which is similar to Muse at their least totalitarian and expansive. However, Soular’s good intentions and undeniably top drawer listening pedigree (well with the exception of U2 and Queen, but hey no-one’s perfect) are sadly undermined by their typically American fervour for nauseatingly dull, innately overwrought F.M rock.
This results in an album choc-full of pious pomposity, which places style well above substance and is all icing and no cake. Particularly culpable is ‘Take Me Away’ with its achingly searing, fret wanking guitar intro and solo, clichéd lyrics and totally smug, self-satisfied production. It is a frankly horrific track. Equally heinous is ‘Tomorrow Never Comes’ (another clichéd title!), which again is seemingly screaming “file under power ballad” with it’s garbled lyrics, double tracked “these go up to eleven” guitars and the sort of over-egged production normally reserved for songs of the ilk of ‘I don’t want to miss a thing’. None of which is a good jam in any way shape or form.
Soular would be well advised to steer clear from the lighters-aloft nonsense on their next record, as when they do what they do best which is play loud, propulsive rock music; they are quite an interesting proposition. Their overt fondness for limp balladry will not gain them either the fan-base they desire or much in the way of acclaim.