Southend's Asylums have released their third album 'Genetic Cabaret' via their own label Cool Thing Records. After two stunning pop-punk albums, naturally, they stepped into the studio with Steve Albini. Has the man behind the glass for 'In Utero' , 'Rid of Me' and 'Surfa Rosa' produced another collaborative masterclass?
Songwriter Luke Branch, to date, has had moment of superb social commentary on 'Millennials', 'Joy In A Small Wage' and 'Homeowners Guilt'. Now, he has hit a level of consistency the political mess the world deserves. With Trump's sociopath traits becoming normalised and Boris running from scrutiny, Branch has found a consistent incandescence but always intellectual rage we can unite behind.
In the mire of Trump, Brexit, antisemitism, the rise of the far right in Europe, and ignorance of refugees, Branch received the joyous news he was to be father. This fueled the tension of his rage against the world he bring his child in to.
The thunderous rock effort 'The Distance Between Left & Right' builds this tension. Their archetypal sci-fi punk of 'Adrenaline Culture' creates a space for the politically homelessness to be exasperated. Meanwhile, 'Yuppie Germs' spits out a venomous deconstruction of the greedy Tory 80s tribute act nightmare we've endured for a decade.
Alarmed by the increasing generational divide and its fraught nature, the former single 'Catalogue Kids' (full review here) provides an anthem for the maligned youth of today. Empowering and righteous, it twists The Who classic 'Kids Are Alright' into a clarion call. Get angry. Get poetic. Form a band and strike out!
The raucous sonic subsides, mercifully, on 'The Miracle Age'. Gently shimmering in the shadow of Brexit, it looks for unity and integrity before erupting into Springsteen via pop-punk euphoria.
The album climaxes on 'Who Writes Tomorrows Headlines'. Woody Guthrie and Joe Strummer's eyes will glisten at this, what is, the finest punk sloganeering for a decade. Branch's lament of the press barons who pushed Brexit for their own ends, not the left behind is magnificent. Musically, it's their most complete work to date. The drums ferociously conjure images of outsiders standing their ground whilst, riff magician Jazz Miell strikes gold. His warped guitar parts and solos have found a new level of volatility and infectiousness simultaneously.
The new normal has become a phrase of late. If this album is theirs, the world has new heroes. Vitriolic, defiant, and unifying, Asylums are not their yet but, they've got a monumental stride towards a masterpiece.
