Key Tracks: “Below,” “Kiss Me When I Bleed”
There’s two meanings to the word “raw.” On White Lung’s previous album, “Deep Fantasy,” they explored a hardcore sound that roared ferociously, even for hardcore punk, ripping through 10 songs in 22 minutes. Their new album smoothes things out a bit (although not much, it’s 10 songs through 28 minutes). There is a lot more emotional rawness on the album – the band is focused less on speed and volume and more on wearing themselves thin on tape.
White Lung are following in a trend set by previous releases by Perfect Pussy and Savages, in which very loud and angry bands are not shying away from their sudden success and are instead using their new standpoints in their music. Tellingly, Meredith Graves and Jhenny Beth opened their arms to love. Mish Barber-Way? Serial killers. And trailers. But also love. In between albums, she wed, and a post-wedding blissfulness permeates the album. At times, unfortunately, the band sounds like they’re pushing the volume only because they’re White Lung and that’s what is expected. Most of the time, however, this theme of emotional and physical rawness comes across effectively.
“Deep Fantasy” is one of my favorite albums – in the past two years I’ve spun it more than almost any other album. But if there’s any criticism I could level at it, it’s that it feels a little too polished at times. Surprising, given Kenneth William’s utterly shrieking guitar. The band operates at 11 and sound like they’re about to go off the rails at all moments. But still, they could use for a little more emotion in their music. It comes through here. On “Demented,” William trades in his wailing guitar for a straight-forward, pounding and unexpected one-chord riff. Anne-Marie Vassiliou sounds immediately more forceful on the drums, on opener “Dead Weight,” and one multiple songs throughout. And Mish Barber-Way strains herself on nearly every song. I found their first single, “Hungry,” underwhelming, but man her voice propels the song. She brings carnage to “Kiss Me When I Bleed” and adds tension to ballad “Below.” She dominates the album in the way that she dominated “In Your Home,” the closer to “Deep Fantasy.”
Lyrically, too, this album has a certain rawness to it that doesn’t jibe with the rawness of “Deep Fantasy.” One of that album’s best songs, “I Believe You,” was an extremely direct message to rape culture. That directness exists here, too, but instead of a punishing rawness, it’s an emotional one. Barber-Way investigates her fears and wonders about marrying a Southern man: “I will give birth in a trailer / Huffing the gas in the air / Baby is born in molasses / Like I would even care” she sings on “Kiss Me When I Bleed.” On “I Beg You,” “This is the death of me / I need a fantasy.” Between the rapid drumming, relentless guitar exploration and strained vocals, White Lung push themselves to a maximum that they’ve never explored. It doesn’t always pay off, some tracks like “Narcoleptic” and “Hungry” suffer from a tempo that’s too fast to be slow and too slow to be White Lung. Exploring their space might not always be their thing. Then again, they strip everything away and let sheer tension run “Below.” This is a personal and bleeding album, one that addresses the successes and failures of being a touring band, sudden notoriety, and life in general. It isn’t necessarily hardcore punk, but then again, White Lung never truly adapted the title. They never adapted any title. And it’s not like this album isn’t gonna rip your face off most of the time anyways. It’s raw, it’s passionate, it’s emotional, it’s loud, it’s destructive and most importantly, it’s White Lung.
-By Andrew McNally