Frank Carter and Rattlesnakes – ‘Dark Rainbow’ album review: a middling rock record lamenting what could have been
THE SKINNY: Frank Carter and The Rattlesnakes have returned with their fifth album, Dark Rainbow. The title is an apt synopsis of the convergence of lightness and dark that the frontman and Dean Richardson elicit across its 11 tracks. Their latest body of work sees the band try to push themselves and perhaps points to pastures new in light of the fresh twists they introduce.
Comprised of the rousing rock anthems that the band are so adept at by this point in their career, as well as several other textures, including post-punk, glam, emo, and even avant-pop, Dark Rainbow will no doubt be well-received by their longtime adherents. However, it must be said that for all of the bursts of brilliance that Carter and Richardson include on this offering, broadly, it feels like a resolutely middling effort, derided by its own missteps.
Despite Carter shining at points, with his dynamic vocal breadth greatly compelling in the highlights, there are several other aspects that let Dark Rainbow down. Instead of following the more innovative routes that they tease in songs, a preference for bombastic, and dare I say it, cheesy rock – a line they’ve always closely toed – nullifies this smattering of artistic flourishes.
Whether it be the riffs, which we’ve heard many times before in better contexts, exaggerated vocals or obvious lyrics, as a whole, the album is neither something new nor particularly challenging. Nevertheless, this stylistic comfort is not offensive; they’re evidently not trying to reinvent the wheel, but in light of the profound moments that are included, it leaves you rueing the duo’s missed opportunities. Carter and Richardson have also clearly strived to attempt to freshen up their sound somewhat, so it’s not stale, either. It’s just lacking the pizzazz it promises. A halfway house.
For fans of: Brewdog Punk IPA, Sailor Jerry tattoos, and HBO’s True Blood.
A concluding comment from Tom’s mother: “A very odd, unsettling experience. Somehow, like Harry Styles and Glenn Danzig serenading you simultaneously.”
Dark Rainbow track by track:
Release Date: 26 January | Producer: Dean Richardson | Label: International Death Cult
‘Honey’: Carried by an earworm of a sliding riff, evoking images of the South Californian Desert in the mid-2000s, this bombastic track sets a precedent for most of the record, as Carter and the band pull from some evident areas and put their twist on them ready for the road. Objectively, the vocalist’s performance is strong enough and lively, and the guitar riffs are catchy, but it’s nothing we haven’t heard before. [2/5]
‘Man of the Hour’: Something of a ballad, the wistful keyboard arpeggio that crops up throughout the track is one of the highlights of the record and adds another dimension to the band’s sound. A rousing, almost glam-rock anthem wherein Carter sings about the titular fellow, his performance is a highlight, as it verges on the theatrical and shows the extent of his talent. Maybe they should try their hand at a rock opera in the near future. [3/5]
‘Can I Take You Home’: In the verses, it’s an atmospheric piece of refined, synthy avant-pop, but instead of expanding on this welcome and seemingly experimental route, in true form, the heady palettes are soon shattered by crunching choruses and cheesy riffs. Carter’s vocal performance is also accomplished, but the music just lets him down. The way this starts out and the way it ends prompt two completely different sets of emotions. [2/5]
‘American Spirit’: The second number that points to a certain desert rock band with a choppy 4/4 rhythm, featuring an attitude-laden guitar riff comprising of string bends, the haunting atmosphere the group elicits by way of this compositional choice and soulful backing vocals is quickly counterbalanced by a major-key chorus. The highlight of Carter’s vocals is the chasmic baritone he briefly draws upon, as are the bluesy chromatic twists he adds for atmosphere. The dream-like piano-led bridge is also a compelling moment. Unfortunately, though, the cheesy chorus ruins it all – despite how fun it is meant to be. [2/5]
‘Happier Days’: A driving and moody number with a big, punchy chorus, it points to the influence of a handful of black suit-wearing groups from the 2000s. A confluence of rock ‘n’ roll grit and post-punk and goth-leaning sonics, it is one of the better moments. The dovetailing of the string section and acoustic guitar in the breakdown is also glorious. I could listen to that melody for an age. [3/5]
‘Brambles’: First things first, the bassline is quality. Simple but conjuring a palpable sense of trepidation, it provides the perfect ballast for Carter to produce one of his most impressive and distinguishable performances on top of. Spacey and forgoing the immediate bombast of other songs, this change of tact is effective, particularly when the guitars and strings link up, setting up one of the finest bursts of energy on the album. Compositionally and production-wise, this cut stands out. [4/5]
‘Queen of Hearts’: This immediately arresting track exhibits the full scale and emotive power of Carter’s voice, backed by introspective strums coloured by an adroit level of reverb and delay. It is also underpinned by haunting backing vocal and a cinematic piano line at the end, creating a number that shows just how far the group’s reach extends outside of the fairly rudimental rock they conjure at other points on the record. The frontman’s lyrics are also excellent here as he draws upon the prospect of leaving a lover and uses a pack of playing cards to express this sentiment. [4/5]
‘Sun Bright Golden Happening’: Something of a stylistic successor to the precursor, this later song has immense crossover appeal with its stripped-back nature, Carter’s reflective lyrics and a strong chromatic vocal melody that ramps up the emotion. A perfect soundtrack for a heartbreaking sequence in a teen drama. Tears will be shed to it. [3.5/5]
‘Superstar’: Kicking off with blaring, grime-esque prods of the keyboard, this club vibe is fast pulled apart with a moody riff and Carter’s vocals. A vintage performance by the group, the chorus is what they do best, as their leader sings about fucking and kissing before tapping into a broader carnal sentiment that will no doubt have fans going wild in the live setting. Howling, “Let me be a superstar”, this one immediately drives itself into the prefrontal cortex. [4/5]
‘Self Love’: With the opening sound of this track, I was starting to wonder whether Dean Richardson ever forgets his riffs, as this is highly similar to previous efforts. However, à la the general vibe of the record, The Rattlesnakes keep the groove dynamic, shifting between rhythms and sections, with the focal point being Carter’s vocals. Furthermore, that ridiculous synth solo grabs the attention just after the halfway point. [2/5]
‘A Dark Rainbow’: “I’ve been high / and I’ve been low,” Carter howls during the chorus of the closing effort. Another slower, gradually rousing piece, it’s hard to ignore the stylistically oscillating nature of his performance, which ranges from softly sung verses to the primal chorus. The way he uses melisma in the word low is particularly cogent. The churning, industrial-esque scape of the bridge is also a compelling addition as it shifts the direction completely, bringing it to an unexpected type of close. [3.5/5]
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