Frustration – ‘Our Decisions’ album review: A strange experience that fails to make good on the promise
THE SKINNY: Our Decisions, the sixth album from the celebrated French punk band Frustration, is a strange listening experience. The group has a distinctive take on the post-punk formula and it has brought success in their homeland. Yet, despite being purportedly such a unique act, some areas on the record evoke other outfits. Their resemblance to Cardiacs and the pin-stripe-wearing new wave revivalists of the mid-2000s feels far too uncanny. The connections may come from a subjective context, but they speak to a broader truth. It’s not that original, and it certainly isn’t as arresting as you’d expect from reading about the quintet.
That’s not to say Our Decisions is the worst album I’ve ever heard. It’s not. But it fails to resonate like it promises to on the tin and comes across as lightweight despite the clear intentions. Despite the band’s punk and garage rock background, the production is far too loose and could have been much fuller to really drive the sentiment home. Nevertheless, it’s also down to songwriting. Sadly falling, at times, a teenage band and the ageing rockers taking to the stage after them, who are in denial that they will never make it.
Frontman Fabrice Gilbert is expressive across the ten tracks and covers a range of styles and themes. Still, regularly, his passionate delivery is so comical that it undoes what he’s trying to say. You could express this is a natural byproduct of ostensibly blurring lines and pushing the post-punk formula to its limits, but that’s not what transpires in light of the promise. His position embodies the whole nature of the album; for every fleeting moment he captivates, numerous others leave you questioning how it could have been much more impactful. The ideas are certainly there; it’s just about execution and, ironically, decisions.
While Frustration aren’t meant to be for everyone – as their name so aptly suggests – Our Decisions is a wholesale paradox. It’s entertaining but annoying, sounds unique but is comprised of many renowned influences, and makes you want to listen again, afraid of missing something essential, while also thinking you’ll leave it there, never to return.
For fans of: Standard tuning, neckerchiefs and skinny jeans.
A concluding comment from the head of marketing at Shockwaves by Wella: “These guys sound straight from 2006; maybe we should use one of their songs in an advert? The 2000s revival is here… look on Instagram!”
Our Decisions track by track:
Release Date: March 29th | Producer: Jonathan Lieffroy | Label: Born Bad Records
‘Path Of Extinction’: The opener captures my feelings about this record. The music is generally satisfactory, starting with the ominous but trashy synth sounds, and is carried by Pat D’s driving bassline, who, it must be said, thrives throughout the record. Yet, despite the title and vital messaging, lyrics such as “No more fruits in the trees / No more fish in the seas”, manic stabs of the synth, theatrical vocals, and the overall mix really let this one down. [2/5]
‘State Of Alert’: A catchy number featuring blaring synths, catchy guitars, and another busy bassline, it very dangerously toes the line between great and terrible, something that the addition of the B-movie vocals in the chorus exemplifies. To be fair to the group, there’s ample energy here, and it will almost certainly go off-live. [2/5]
‘Omerta’: From a somewhat tongue-in-cheek effort to a more serious one, the energy of the previous offering is quelled by the atmospheric thuds of the toms, grainy bass and Gilbert’s commanding vocals. The guitars are much better here, too, with the churning bends and overall dynamism welcome. [3/5]
‘Catching Your Eye’: The fourth stop contains one of the best basslines on the album, as Pat D moves across his fretboard with precision to create a head-bobbing groove. One of the more captivating songs on Our Decisions, it weaves in and out of restraint and expressionism, with the chorus synth line one of the best on the record. The middle section is cool, too. [3/5]
‘Pawns On The Game’: This track would certainly have been a cult classic if it had been released anywhere between 2004 and 2008 and was made to have been on a FIFA soundtrack. From the bassline to Gilbert’s baritone delivery and even the catchy vocals of “checkmate” – which again hazardously toe the line – several elements confirm this as the best song on the record. I do wonder what Boy Kill Boy would have to say about it, though. [4/5]
‘Riptide’: A song that delves into darkwave textures, commanding arpeggios, atmospheric drums, and reverb-drenched guitar line make for a sensory treat. However, I can’t help but think that Gilbert’s vocals are too elevated in the mix, which somewhat ruins the immersive experience it would have otherwise been. [2.5/5]
‘Pale Lights’: Featuring a grooving but staccato rhythm section, this number undoubtedly harks back to the early years of the post-punk sound. While it may be entertaining, it doesn’t offer much. [2/5]
‘Vorbei’: A moment’s pause from the weird punk. Featuring Anne from Hammershoi singing in German, as well as Gilbert’s earnest vocals, it makes for an affecting composition, as the industrial synth swells in the background and are placated by the artistic and dream-like piano line. [3.5/5]
‘Consumés’: The penultimate track is another rare highlight of Our Decisions. The bass and drums linking up is brilliant in the verses, with the way the band comes together in the chorus more resounding than in most others found on the record. A fusion of fury and melody, there’s almost nothing wrong with it, and it has an energising effect despite the relatively dark sound. [4/5]
‘Secular Prayer’: The final chapter starts so well, creating ample tension. However, it quickly falls apart. The sliding chord progression is terrible and hard to ignore, particularly when added to Gilbert’s frenetic performance, which isn’t great, regardless of the vigour. The convergence of the chords, vocals and synth in the climax made me want to throw myself out a window. Honestly, most 14-year-olds could think of a more effective finale than this. [1/5]
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