“I talk about violence too much.“
With their previous album, Caprice Enchanté, receiving rave reviews all round, there have been high hopes for a new The St Pierre Snake Invasion (TSPSI) record. These expectations are sadly not to be met. Whilst following up such a well-constructed album was never going to be an easy task, to fall quite as short as Galore ultimately does is disappointing.
Whilst still remaining unequivocally identifiable at TSPSI, the British outfit’s third studio record lacks any real cohesion from a musical perspective. At best it’s inoffensively enjoyable and at worst it’s bordering on ‘same-y’, with only three tracks rendering it salvageable. The drums are largely uninspiring, with repetitive riffs and lacking any of the cheeky little fills that brought life to the group’s sophomore effort. Not much more can be said for the strings either; they are overall equally predictable, with Damien Sayell’s vocals being the only point of interest on occasion.
“Kracked Velvet” kicks things off, with the deliberate misspelling about as edgy as it gets. Opening with a signature heavy bass and down-tuned guitar, it’s hopeful until we get into syncopated vocals with a dull drum riff, and ultimately, the track becomes repetitive and a touch boring. The only real excitement comes in a small key change approximately halfway through. “Midas” brings a change of pace, with effective use of synthesizers giving an 80s feel to things, but again it quickly becomes repetitive, and the lyrics simply feel lazy with a monotonous reprise of “I don’t hear my vital signs and I miss them.” This is more like a poor man’s Deftones than anything like the Queens of the Stone Age vibe from Caprice Enchanté. “Submechano” follows the same construction as “Kracked Velvet“, but a solid break in the last minute absolutely saves the song. Still, it lacks the levels and gradient to really add any power to the track. A tasty drum fill here would’ve gone a long way. “Galore” is again filled with staccato riffs and uninspiring percussion. Where have the brilliant moments we know this band capable of vanished to? Vocally, Sayell aims to create atmosphere and nearly achieves it, but the musicianship dulls the goal, with random guitar distortion killing the traction he gains here.
“To Sleep Well” brings us to halfway, and honestly, this track is one of the three saviours of this album. Finally, the overall sound is cohesive with much better flow, as if at last everyone is in the same room and on the same page. With the bass and drums working together, the guitar are able to support the melody, and therefore the track offers far more depth and clarity than those previously. Unfortunately, “Every Sun” soon shows that “To Sleep Well” was a bit of a red herring, as we are once again back to the same format as tracks one, three, and four, with the only offering being a slightly meatier drum riff. Again, it’s saved literally at the last minute with a decent break, and everyone singing from the same hymn sheet. “The Overlook” gives a far more familiar TSPSI vibe. A strong bass line and appropriate use of distortion is what we know and love from the Bristol band, demonstrating again that when percussion and bass work together the overall sound is vastly improved, and the energy is well held.
“Apex Prey” wouldn’t be out of place in a ‘chill’ playlist and, while perfectly ‘nice’ and offering some much-needed variation, it doesn’t go anywhere and is somewhat vapid and gratuitous. Nearly at the finish line is “That There’s Fighting Talk“, which is a misnomer if ever there was one. It is one of five tracks on this album that you would struggle to pick out of a lineup. As the subject matter of this track is so deeply personal to Sayell and incredibly relatable for many, it’s surprising that the opportunity to convey the struggle with emotional instability and how to regulate those feelings doesn’t seem to have been grasped with both hands. Knowing how capable these guys are of creating different energies within their music, there can be no doubt that they could’ve absolutely done justice to the title of this track. It misses the mark, except for a heavier moment at the midpoint, which is the only time that the struggle is conveyed to the listener. At least they saved the best till last with “Pray to Liars“. It took approximately half an hour to recover, but at least they got there. Good luck listening to this bass riff and not pulling out a stank face; it hits in all the right places, with the guitar bringing ebb and flow to the track. There is again a brilliant incorporation of synths in the break. Satisfaction at last!
Caprice Enchanté showcased TSPSI’s versatility to perfection, with post-punk undertones, leaning into the heavier side of things in all the right places, as well as incorporating softer moments when applicable. They managed to successfully pull in different genres and elements without it ever feeling gratuitous, whereas Galore falls flat by comparison. Of course, bands progress and their sound inevitably changes, but this really feels like a backward step. When the band clicks, Galore works, but those moments are few and far between. Die-hard fans of the genre will likely still find this record pleasing, but it simply does not reach the impact of the group’s previous work.
5/10
Galore will release this Friday, April 21st, via Church Road Records, and you can pre-order it here.