Delivering what would now be considered their collection of swan songs, Ipswich’s Basement present Colormeinkindness, the last effort in the young British band's brilliant career. Colormeinkindness is poignant and has a charm which is all-encompassing of every emotion and embracive to all listeners, reeling them into the record as an experience.
Opener Whole is the first offering in said experience displaying a scythe-like riff cutting away any excessive apprehension on first listen. The track is significant yielding the new bold crunchy tone a counterpart to the more intricate somber dynamic presence on the record.
Colormeinkindness is an evident step up from predecessor I Wish I Could Stay Here where the band produced the aforementioned the abrasive yet passionate infant, and now stand with Colormeinkindness teeming with a mature grace.
Colormeinkindness is an abundance of untapped catharsis channelled through a sonic platform of clouding melodies. Examples of this are shown in the records powerful moments such as Breathe, being the longest song on the record however epic and triumphant in evoking a raw resonance with each second where Vocalist Fisher says "Speak tell me that you’re okay, I’ll keep biting on my tongue, looking at your face as if we never made mistakes", as it overwhelms you. The track stands as a score to a surreal haze of existence correlating to the sensation of being half awake as the stripping murmurs of the bass bounce off the arpeggiated ring. Other bright moments are in Control where the circular riff present mimics the motions of dwelling on the misfortunate repetitively while the vocal droning lull of Vocalist Fisher rears itself continually bouncing of the proximity of the skull forming itself as a immediate extension to your conscience.
While the album is rooted in authentic '90s Emo, it often steps foot within the parallels of sharp-edged Grunge and Alternative Rock where the record is reminiscent of the grittier edges of Sunny Day Real Estate's self-titled record and somber melancholic moments of early Smashing Pumpkins. The musicianship is impalpable where the bands are as tight as can be carving out the various textures of the record. Vocalist Fisher’s voice is incredibly earnest, stirring and abrasive in all the appropriate places. For example in Black where the angst explodes imploding into a violent array of swirling ruckus guitars and towering drums while Fisher spits out "Leave me by, the darkness here is comforting" with a conviction, which evokes an unease, which is also displayed in the closer Wish where its snarls and bends is a perfect amalgamation of relentless pace and bold textures an apt closer.
Colormeinkindness glimmers with an intent to attach itself to the listeners soul and enhances every conjured emotion through its own sentiment of eternal longing. Visually the record is cinematic forcing the reels of your imagination to spin relentlessly projecting the images of the surreal. The record is a perfect bid adieu and apt curtain call.
5. Bad Apple
Written by Aaron Akeredolu