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“Colourmeinkindness” has a feeling of sadness attached to it even before the first listen. The album is the second, and most likely final album from the UK’s Basement, as they decided to go on an indefinite hiatus following the release of this record. In the space of only a few years, the band managed to become one of the fastest rising bands in their scene, touring Europe and the UK countless times, America twice, and a highly talked about tour here in Australia. The band’s swan song was recorded with Sam Pura (The Story So Far, The American Scene) in San Francisco, and it sure is a powerful way for them to make their exit.
Kicking things off is “Whole”, a track that has been prominent in the band’s live set for a while now, and quickly became a fan favourite after a live version of it was recorded during the band’s Maida Vale Session for BBC Radio 1 earlier this year. The track does a good job of providing the familiar elements heard on the band’s very impressive previous album “I Wish I Could Stay Here”, as well as showing glimpses of where this new record will be heading. The following track “Covet” throws out a real “Diary” era Sunny Day Real Estate vibe, especially in the ever improving vocal delivery of frontman Andrew Fisher, who at times sounds quite a lot like SDRE’s Jeremy Enigk.
“Spoiled” sees the band at their most aggressive point on the record, with their slightly grunge influenced take on a radio rock track being a real standout. The term radio rock being thrown in there may sound a bit concerning, but let’s be honest, they’ve done it much better than anything else that is doing the rounds at the moment. One of the most engaging things about the band is the honesty and sincerity in Fisher’s lyrics, and that is one of the things that really stands out in the following track “Pine”. When Fisher states, “I hate myself, but that’s okay”, you believe him.
Don’t let these rock and grunge comparisons throw you, “Breathe” shows the band giving another tip of the hat to the plethora of 90’s emo bands that have been a heavy influence on them, and it is instrumentally one of the more interesting tracks on the record. The obvious 90’s influence continues in “Black”, with portions of the likes of Quicksand shining through in the guitar playing of Alex Henery and Ronan Crix, especially the end section of the track.
The relaxing guitar lines paired up with the soothing vocals of Fisher in “Comfort” create the perfect lead up to the records final song “Wish”, which is one of the best album closing tracks heard all year. The track is up there with the finest the band has ever written, which makes it an appropriate choice for the final track on the band’s final record. At times it reminds me of some of Silverchair’s earlier work, who would’ve expected that a few years ago when the band was in their early stages? The build up in the final moments of the track will make the hairs on the back of your neck stand, and then once it is over, you will be so engaged that it will only make you want to play the record once again.
Although it is sad to think that this is the last recorded material we may ever hear from Basement, it is certain that this record will leave a lasting impression. The band has always been honest with the way they have approached everything and always done things on their own terms, and this record is no different. The record is another solid addition to their already impressive catalogue, and one that should not be ignored.
5. Bad Apple