Kash

Full Of

There’s a common misconception that Steve Albini only records, engineers, or produces bands who sound exactly like his own insurmountable recorded output. Albini could spend a summer recording an afro-beat collective from the Democratic Republic of the Congo and within five minutes, some misguided soul will liken track three to ‘My Black Ass’ or ‘Kerosene’. This of course, is rarely true.

Should anyone approach ‘Full Of’ with the mindset that they’re going to be subjected to a raw, jolting math rock are in for disappointment. This record feels rich and organic, with a particularly corporeal feel; certainly a stark contrast to the inorganic harshness which Steve Albini had a propensity to bestow upon us with the help of the trusty Roland.

An agitated bass line is the focal point of ‘Monster of Fire’, entwined with sharp, jagged guitar soon after; the band's distinguishable aesthetic complimented sensitively by the subtle production. Minimalist post-hardcore soundscapes akin to The Shipping News provides the backdrop of ‘Physical Swimming’, before ‘Eagle’ bursts into life with the bass driven sleazy proclivities of Girls Against Boys, or perhaps The Twilight Singers without the bombastic swagger.

However, in spite of the vibrant start, the record begins to fall apart at the seams, and in the latter stages begins to feel fairly redundant; even the prickly ‘Tiger & Lion’ struggles to revive the album, as it stutters and falters to its conclusion.  With eye-catching artwork, an impressive collection of songs and a strong display of temperance, ‘Full Of’ possesses all of the necessary tenets to create a thoroughly enjoyable listening experience, but sadly on this occasion it inexplicably loses its momentum.  

#Albums #Alt-Rock #Kash #Noise rock #Sick Room Records #Robin Wallace