Key Tracks: “Scud Running” “Absurd Walls”
Emo revivalists Prawn’s new album is full of light, airy and melodic songs that are often vague in tone but practiced in music. Though it has it’s weak moments, Prawn have been an uniquely line-teetering band for years, and “Kingfisher” only goes to continue it.
A Kingfisher is a bird. Specifically, a type of bright, distinct and goofy looking bird. One that has been known to eat fish. In many ways, a kingfisher is everything that Prawn is not. Prawn is vague and unassuming, at first. Their music isn’t showy, especially for emo. It’s rhythmic and often lucid, blending together into something that’s surprisingly pleasant. So a kingfisher makes sense, as the band spends the album threatening to be consumed by various existential forces (much like a fish getting swallowed up). It’s either ironic or totally fitting that Prawn have spent the last few years hanging out in the limelight of the emo revival. While some (Snowing, teen suicide) made news with almost immediate breakups, and some (TWIABPAIANLATD, the Front Bottoms) strain themselves to make something jarring and original, Prawn have been building their own blend of guitar rhythms and aligning melodies that’s more soothing than it is jarring – something that isn’t designed to make as immediate of an impact at first.
And “Kingfisher” is certainly filled with those interesting melodies. The album starts and ends with strings, that fall away for the eight songs in between. And the album does dissolve into straight rock – happening infrequently enough that it’s a surprise each time. Loopy guitar rhythms are big in emo these days, but Prawn bring it up a notch by relying equally on melodies that are either very repetitive or different throughout. “Prolonged Exposure” is a guitar-heavy track that emphasizes this, as is “Absurd Walls,” where twin guitar rhythms compete in the background, one giving way to sounding like a siren. Prawn have learned to embrace both slower, ambient songs, and louder, rocking ones, and hit every notch in between on “Kingfisher.”
On a lyrical note, the album does get kind of frustratingly vague. It’s filled with typically deep, sad, statements, often opting for philosophical questions about some hypothetical, impending disasters rather than any direct and reflective poetry. Sometimes, like on “Glass, Irony” it can work, with the line “It’s hard to hide in dire straits” shoved to the forefront of the song. Other times, like on “Thalassa,” it gets clunky. “I’m glad you found clarity in ambiguity” is repeated a few times at the song’s climax, a line that doesn’t exactly sound fresh. Some of the songs could’ve used some clarity themselves.
But “Kingfisher” is still a very strong release, one that’s both pleasant and devastating. Prawn are at the top of their game and, even if the top of their game is positioned in the genre’s background, then it’s what they’ve learned to excel in. At times sweet, at times sour, “Kingfisher” is just as good as we’ve come to expect from Prawn.
“Kingfisher” is out tomorrow, 8/12, on Topshelf Records.
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