These are frenzied times and we are busy people. Very busy. Patience is a virtue requiring more intense magnification than ever before, and one so very rarely indulged. It’s almost more trouble than it’s worth trying to hold your attention from one. Moment to the next. See, I even had to split that last sentence to increase my chances of you actually making it to the end. The days of poring over one band emphatically to the point that it would be a smoother process weaning you off oxygen are surely numbered when you can barely listen to a song without being delivered instantly to the virtual bosom of 15 other artistes you might like more, and ‘movements’ move on in the time it takes you to Google Amy Winehouse’s bar tab from last night. And they thought the CD skip function would kill the album! Sometimes there is just TOO. MUCH. GOING. ON. *Exhale*.
Kubichek!’s key is that they seem to understand that. Or if they’re not so much conscious of it they’re certainly a product of it, and ergo fully compatible with Generation Txt’s low boredom threshold, like no other band that we can think of in fact. This is a surprising album, one that never let’s you forget it’s on. They’re a little bit noise-pop you see, and a touch indie-disco, a bit emo-hardcore, a fistful devastating post-rock and in a final pre-emptive strike against the threat of impending boredom they’re off burrowing through post-punk with their ears pricked up at full mast. They take an unscheduled jerk from the plotted course with almost every track, but it’s clearly the same band behind the wheel the whole way, there’s never the impression that they’re bored, merely that their sense of adventure is insatiable.
Much of the album reminds us of ‘Hope Is Important’ era Idlewild, specifically because of the explosive meeting point between limb-dislocatingly ecstatic noise and overwhelming melody, and the residue it leaves, no better summed up than by opening track ‘Roman Is Better’ which sounds like the aforementioned Scots had they cut that album after At The Drive In broke. Elsewhere ‘Taxi’ sounds like the many limbed lust-child of Maximo Park and Yourcodenameismilo, ace single ‘Nightjoy’ is an Editors anthem on steroids, ‘Outwards’ is the kind of dark The Cure/Joy Division-esque sub-set action that Every Move A Picture and The Departure refined over the last couple of years and then there is the peak of the record, an absolutely devastating, chiming post-rock fall out, climbing against the current in slow-mo a la Amusement Parks On Fire or Redjetson. If they could fashion an album full of those then we would instantly become their bitch. In the meantime making The Automatic look insignificant will do nicely.