Melts – ‘Field Theory’ album review: faultless but familiar
THE SKINNY: In the nostalgic melting pot that is the modern alternative music scene, Dublin’s Melts have built their foundations on the early synth work of Krautrock pioneers and the oppressive industrial sounds of the post-punk era. With Eoin Kenny’s distinctive voice front and centre, the band finds a strong identity in its second album, Field Theory, but falls short of sustained allure.
Melts released their debut record, Maelstrom, in 2022, introducing their associative sound. Field Theory fails to cover much new ground but presents fans with a strong set of singles. These songs will no doubt delight live audiences with their danceable rhythms and cinematic synth compositions, but even at 41 minutes, the album is difficult to tackle in one sitting.
With a psychedelic sense of detachment, the lyrics are rarely presented as a central focus of the songs. In the style of many electronic acts before them, Melts use vocals to accentuate the mood of each piece rather than using the song as a conduit for poetic verse. Where the lyrics penetrate the wall of sound, Kenny takes the listener on an interstellar journey of trepidation and celestial wonder.
While it is difficult to criticise any individual song, Field Theory as a unit lacks the explorative zeal suggested by its star-bound tone. Melts have found a formula that works for them and show consummate talent in their field. All the same, despite several slight tempo changes, the word monolith comes to mind, which is perhaps appropriate since Field Theory evokes Stanley Kubrick’s 2001: A Space Odyssey. Alas, does it have the same sense of enduring promethean awe?
For fans of: The big beat manifesto, the robot dance and twilight driving.
A concluding comment from Superhans: “A great album to run to. You won’t want to turn home and might end up in Windsor.”
Field Theory track by track:
Release Date: April 12th | Producer: Daniel Fox | Label: Fuzz Club
‘Figment’: Kicking the album off with one of the previewing singles, Melts bring danceable air to proceedings reminiscent of the more enjoyable side of the 1980s synth-pop spectrum. Fuzzy guitars and echoed industrial vocals offer an immersive post-punk edge. [4/5]
‘Waves Of Wonder’: Maintaining an atmosphere of industrial angst, Robbie Brady and Hugh O’Reilly sync up nicely on the keys and guitars, respectively. Meanwhile, Kenny’s intensity suggests that he’s unsure whether “sooner or later, things will get better”. [4/5]
‘Clouded’: Falling somewhere between Krautrock experimentation and 1980s pop, ‘Clouded’ swirls with colourful melodies. Meanwhile, robotic vocals and a lurching rhythm identify the song with the rest of the album thanks to their industrial tone. [3.5/5]
‘WLDNG’: Shifting back into fifth gear, ‘WLDNG’ surges forth with dizzying oscillators and siren-like tones. This stage-age fire drill brings several new sound effects into play but hints that the album might push the same buttons in different combinations throughout. [3/5]
‘Shelter Of The Shade’: In comparison to its neighbouring tracks, ‘Shelter Of The Shade’ is rather stripped back. A less imposing synth rhythm provides a pulsating skeletal frame while Kenny sings of sheltering from the Sun, presumably while bouncing around on the Moon. [3/5]
‘Main Sequence’: As the title suggests, this song is the album’s “main sequence” insofar as being representative of the album as a whole. While the singles provide a punch and interesting sound effects keep us on our toes in areas, the album falls victim to a monotony reflected in this track. [3/5]
‘Altered’: Over another pacey groove from Gaz Earle, thunder crack guitars bring waves of brutality. Kenny’s vocal delivery seems more important than the lyrical content here, as a sense of urgency brings complementary intensity to proceedings. [3.5/5]
‘The Never’: Bright and mellifluous, ‘The Never’ moves through flat, robotic verses and symphonious climaxes. At six minutes, it is one of the album’s longest tracks, owing to an ethereal break in the fourth minute that seems to soundtrack a tense moment in this cinematic sci-fi odyssey. [3.5/5]
‘Softly Breathes’: As a bookending song, ‘Softly Breathes’ serves its purpose in tapering the tempo. However, it caps off an album that sits on its laurels with a futuristic sound deemed progressive in the 1970s but heavily trampled today. [3/5]
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