2023-10-27 16:22:07
If a media dispute in the run-up to an album release is apparently intended (but not actually at all) to generate attention for the release, that is rarely a good sign for the material being indirectly promoted. In case of The View-Comebacks Exorcism of Youth Either way, things aren’t that bad.
After all, the frontman is Kyle Falconer, who now has two solo albums under his belt and the creative output of The View no longer alone, still simply an expert in his indie rock profession: When it comes to songwriting, he (and his, well, once more friends Kieran Webster and Pete Reilly) also deliver on the first record of the reunited Scottish band since Ropewalk from 2015 onwards, the accessible catchy tunes tumble from the wrist in a relaxed, catchy and snappy manner – the manageable, lasting appeal of the numbers is therefore left to be seen for now.
Especially in the first half, where brisk nonchalance (The Wonder of it All) alongside likeable singalongs like Arctic Sun stand, prime anachronistic organ textures (Shovel in His Hand) and right from the start with the title track and Feels Like It is noticeable that (the following Bread And Circuses producer taking the helm a second time Youth gave the sound more gloss, which would probably not be averse to the stadium – the middle section of Exorcism of Youth therefore (for once even a little tensely, because) absolutely wants to be an anthem (Allergic to Mornings) and gives in return in the second piece of heart Black Mirror even the mainstream kitsch complete with strings with the dignified grace of a heroic movie credits. This is surprisingly okay!
To give the songs bite and aggression, to capture spontaneity or to leave edges and dirt under your fingernails Youth so the wrong one. But if Exorcism of Youth following the more inconsequential filler Neon Lights (basically everything that comes between ZZ Top and Bowie too tame rocking can be very catchy?) and the dance floor serotonin Woman of the Year with the uncomplicated drive of Dixie (which repeats its patterns far too extensively on behalf of some songs on the album) as well as the finale from the final 80s approach Footprints in the Sand and the one who indulges in dream pop there Tangled steers into more synthetic realms, his guiding hand works tastefully where the wombats no longer have anything to say.
Exactly to what extent remains an open question for a long time The Viewas proclaimed, for their return now actually from Pressure Machine and Sam Fender were inspired. Not really matter. Because the trio (which no longer forms a quartet without the drummer Steven Morrison, who has not returned) almost 17 years following their mega singlea slingshot, which is still unbeatable today Hats Off to the Buskers is good for an all-round solid record that is entertaining and non-binding fun – and when viewed through the lens of a fan, it will even get the points rounded up! – then doesn’t need any distracting additional information or even effective rowdiness between brothers (…but maybe just a different producer?).
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