Superb album from the German punk rock outfit
Punk has been around for decades. So what is going to help the latest album from The Donots stand out? Personally, it was discovering that this punk album features a tuba solo. To my recollection, the Ramones never did that.
The compositional variety showcased on The Donots' eighth album is highly impressive, but does generally centre around an alternative pop-punk style, rather than traditional punk; the category in which they are often placed. Similarly to the likes of Green Day, their sound has matured noticeably over recent years and although this may not be to the satisfaction of everyone, it is a step towards a more commercial and polished sound. The unconventional instrumentation intermittently employed (tuba, harmonica, mandolin, etc) perhaps signals the extent of their extremity, but at least indicates that this German quintet are far more ambitious than many may realise.
Unlike many punk albums that grab you from the beginning and assault your aural senses for an hour or so with their attitude-ridden songs, The Donots take an alternative approach with the application of a constrained opener. 'Changes' still possesses anthemic qualities and climaxes pleasingly, but is not necessarily a conventional choice to start the proceedings. The album's first single to be released, 'Calling,' immediately instils more positivity, with the frantic drumming and well-supported synth melodies contributing to the energetic aura.
The intensity drops for 'Forever Ends Today', featuring a chorus that disappointingly sounds dull and lifeless in comparison to the two songs in between which it has been sandwiched. 'High & Dry' makes amends for the drop in excitement by revitalising the much-needed pop-punk feel. The Donots' sound diversifies ever further with 'Let It Go', this time shaping an identity that lies within the folk-rock vein, the use of a mandolin being notably effective. Although boasting a lively feel and raucous vocals, 'Dead Man Walking' will most likely be remembered for its tuba solo, with the um-pah style bassline lending itself perfectly to the use of the brass instrument.
Although they work to formulas vaguely similar to that of second track 'Calling', 'Make Believe' and 'Who Are You' are both strong offerings with vivacious rhythmic characters and catchy choruses, the latter of which adopting a slightly less aggressive personality. Momentarily leaving the punk sound, The Donots continue with 'The Years Gone By'; a song with strong folk qualities that sounds not too dissimilar to Frank Turner. The harmonies are well performed and are delightfully reminiscent of Less Than Jake. The darker tones that exude throughout this album particularly prevail for 'Hello Knife,' which is persistently driven with relentless bass drumming and choral force, eventually culminating with a blissful Tierce de Picardie. Rounding off the original 11-track album is 'Parade of One', exhibiting beautiful lyricism and also an impressive degree of attention to detail that has been consistent throughout.
The Donots have been very generous to the British audiences, attaching no less than six bonus tracks to the UK release of 'The Long Way Home'. 'Break My Stride', 'Anything' and 'New Hope for the Dead' are hidden gems and would actually be perfectly suited to a band like Billy Talent. It is a real shame that they are ultimately regarded as surplus to requirements, as they are excellent songs. There is nothing else of substantial value in these additions, but they are generally respectable additions rather than becoming a collection of superfluous B-sides. 'The Right Kind of Wrong' is another decent bonus track and although the production quality of these bonus tracks takes a notable drop, the compositional spirit enables momentum to be maintained. 'Headphones' is marginally saved by a catchy chorus, providing relief to a song that is otherwise tedious and texturally sparse. Despite also being comparably simple in construction, 'Stop the Clocks' is contrastingly more effective and is deserving of its place on the extended album.
The calibre of bands that The Donots have shared a stage with during their seventeen history is certainly remarkable (Blink 182, Green Day, The Offspring to name but a few) and they are quite deserving of the claims that they are German punk royalty. However, classifying this five-piece as 'punk' may be highly misleading and they remain far from the likes of Rancid or the Sex Pistols. But do not let this act as a deterrent. Should modern pop-punk by of appeal, then The Donots may be finding their way onto your playlists in the very near future.