The music industry might be one where chance and good luck come into play the most. An artist could be one of the most gifted songwriters or an extremely talented musician but never get signed or discovered because of just bad luck. For London-based trio, Crushed Beaks, a chance encounter with Fabio Frizzi, the long-time collaborator of filmamaker Lucio Fulci and who has composed the music for movies such as Zombie Flesh Eaters, The Beyond, and City of the Living Dead, led to the opportunity to record their debut full-length in Rome.
The result is Scatter, an expansive album that covers multiple genres yet feels extremely cohesive. At times, Alex Morris, Matthew Poile, and Scott Bowley channel Morrissey and The Smiths, such as the catchy “Overgrown”, a single they released a couple of months ago and featured on a previous Weekend Showcase, and the breezy single, “History”. They also head in a punk and post-punk direction with a bit of noise-pop infused for added effect. “Grim” at times echoes of The Ramones before transitioning into punk-pop sound a la Cloud Nothings and fellow Londoners Nai Harvest. The fantastic “Rising Son” would be a track that METZ would be proud of – a scintillating, pulsating punk-pop song that just soars and absolutely rocks.
“Choices” bounces with the anthemic qualities of Bloc Party. It’s a stellar track made for late-night gatherings with friends and one that should scintillate live. “Memories” is a rousing number, and it along with “Replica” and “Litmus” recall some of the great British and Scottish music that has come out over the past decade, such as Glasvegas and Frightened Rabbit.
The man who brought it all together, Lucio Fulci, is also given a bit of an homage with the opening song, “April”. It starts off with a shoegazey beginning before dovetailing into noise-pop approach and a slightly screeching vocal that could be from a teenage horror movie.
Scatter is a surprising album. It builds on the trio’s previous efforts but expands on them. The songs are tighter and cleaner, yet retaining the cathartic nature of the band’s origins. But more importantly, it’s an album that sounds like a band enjoying themselves, taking advantage of the opportunities presented to them to share their version of noise-pop and their odes to the music of the past.
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