It’s been just over a decade since Newcastle’s Demob Happy formed, and almost 3 years since their previous effort, “Divine Machines,” was released. A headline tour of their own and shows alongside the likes of Queens of the Stone Age have kept them plenty busy in the interim, but with their new album “The Grown-Ups Are Talking”, the band are also keen to highlight some of the personal hardships they’ve had to endure throughout these past few years.
The opening track, “Power Games,” wheelspins into life, its sharp groove drawing you in immediately. The riffs are molten hot, and the vocal delivery from Matthew Marcantonio only serves to ignite the track even further. It’s an excellent reminder of exactly what Demob Happy are all about, and an even better introductory lesson for the uneducated.
Swiftly followed by “No Man Left Behind”, the track’s thumping bass underpins an incredibly serious discussion on the high rate of suicide that currently plagues men in society. As Marcantonia explains:
“Nothing kills more young men than themselves. I see a lack of purpose, community, meaning, and self-worth as the cause – deep-rooted problems that this song isn’t going to fix – but maybe airing my dirty laundry might help”.
The rawness of the lyrical content collides with a frenzied percussion, only kept in line by the aforementioned bass riff, and a wonderfully jagged guitar tone. Ultimately, all hell breaks loose from 3:40 onwards, and the solo that ensues is epic.
Grief features again on the uncharacteristically downtrodden “Something’s Gotta Give”, a poignant insight into Marcantonio’s emotions following the death of his father, who sadly passed away after the release of the previous album. It’s sonically subtle and a true tear-jerker, serving as a beautiful tribute.
Another highlight on the album is the tenacious “Judas Beast”, a pure-bred rock’n’roll track oozing with Demon Happy’s usual branding of fuzz and swagger. And while some may see the piano-driven “Don’t Hang Up” as an interruption to the express-delivery of riffs and rock that many crave from the band, it’s a refreshing change of pace and highlights how uncompromisingly self-assured the band have become in their end product, and quite rightly so.
Meanwhile, “Little Bird” features some wonderful vocal harmonies between Marcantonio and his fellow bandmates, Adam Godfrey (Guitars, Saxophone) and Thomas Armstrong (Drums, percussion), resulting in a desert-rock banger. While the desert has always provided a sense of solace and inspiration for the band, it’s a choice that makes sense as the album was recorded in the forever iconic Rancho De La Luna studio in Joshua Tree alongside Dave Catching (Queens of the Stone Age, Eagles of Death Metal).
With the desert plain’s coyotes howl their way through the introduction to the album’s conclusion, “Give It All To Me”, this incredibly introspective track is perhaps the most focused embodiment of the album’s themes. The guitar wails in the background as Marcantonio bleats about his deep-rooted craving for love, even if it’s not necessarily something he deserves. A familiar feeling for many.
“The Grown-Ups Are Talking” is mature by name and by nature, it’s an album brimming with personality and is evidence of a profound self-awareness of both ability and emotions by the band, all of which shines through each track without any of it feeling laboured or repetitive as the album progresses.
