How Much is Enough?
Plastik kick off with ‘Teenage Prologue’ that, on first impressions, leaves you with thoughts of a band of happy, clappy punks with a penchant for quirky pop hooks. But then again, you’d be mistaken.
Each song stands alone, bridging the gap between pop symphonies and rock riffs. Cobain like vocals (at times) puts a droll on their songs that become so sentimental and melancholic that they come off as audacious. The first track may be short, but it’s not exactly sweet as the interesting clapping effect quickly turns into a hammer to the head, only to be saved by the clash of drums.
‘Dead Star’ is much more impressive as skilful guitar and harmonious backing vocals get your blood pumping to fill you with energy. ‘The Guest’ then follows up with some easy listening, yet energetic music to put you in a good mood and, as the album progresses, they travel back and forth from pop to punk with some rocking riffs to keep the balance.
That is until (after an impressive upbeat couple of tracks) the record takes a Coldplay-esque turn, as though it’s lost direction. An atmospheric, chilled out intro leaves you in anticipation of the vocals kicking in and wrenching you out of the black hole you’re sinking into, but instead you’re left to fall, which could be overcome with just a little more oomph. ‘Brainstorms’ just begs the vocalist to put in the power he’s clearly capable of.
The vocals continue at their slow pace for the last few songs but you can’t fault the music, filling you with the cheer that the lyrics take away.
As the record progresses the complexity of Plastik is apparent. They become as joy filled as a funeral, taking a gloomy tone that probably has something to do with the less than bright title ‘Bring me the head of Robert Howard’. Is also one of those unusual tracks that you like but can’t quite work out why, making use of angry guitars and some simply constructed riffs.
In all, an interesting release with the good bits outweighing the down sides.